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oft})e  QJe^T 


jS".  BhRIHC  ©QUO). 
And 

H-  FLeeTwoot)  SHG^P^nt). 


aia 


V 


Central  University  Library 

University  of  California,  San  Diego 
Note:  This  item  is  subject  to  recall  after  two  weeks. 

U.CS.D.      Date  Due 


FEB  l-^  1992 


INTEfi^t»^^R^   LOAN 


0139(1/91) 


UCSD  Ub. 


\  -^      '1 


Songs  &  Ballads 
The  baest 

(^  •  Co^kcdon  •  maU  •  from  ■  t^t  QUou^^^-  of-  t^f  (peopfe 


t>^  tbe 

^ "^  anb 

KeV..Ii..Hl^EETalOOD.jSHEf^PARC>,fl).3;- 

Kannoni^cb  anb  Jlrranocb  for 

VOICE  .  JIDD  .  PlHDOBOliTE 

By  TtJB  r^ev.  Ij.  BLeeiTtaooD  SljePPH^D,  m.H. 


fiDctbuen  &  Co.,  36,  esses  street,  toi.c. 


DEDICATED    TO 

D.     RADFORD,     Esq.,     J. P., 

Of  Mount  Tavy, 
Tavistock, 

at  whose  hospitable  table  the  idea  of 

making  this  collection  was 

first  mooted. 


CONTENTS. 


o«« 


I. 

By  Chance  It  Was. 

XXVI. 

II. 

The    Hunting   of    Arscott 

of 

XXVII. 

Tetcott. 

XXVIII. 

III. 

Upon  a  Sunday  Morning. 

XXIX. 

IV. 

The     Trees      they     are 

So 

XXX. 

High. 

XXXI. 

V. 

Parson  Hogg. 

XXXII. 

VI. 

Cold  Blows  the  Wind. 

XXXIII. 

VII. 

My    Garden    Grew   Plenty 
Thyme. 

OF 

XXXIV. 

VIII. 

Roving  Jack,  the  Journeyman. 

XXXV. 

IX. 

Brixham  Town. 

XXXVI. 

X. 

Green  Broom. 

XXXVII. 

XI. 

As  Johnny  Walked  Out. 

XXXVIII. 

{For  Four  Voices.) 

>» 

XII. 

The  Miller  and  His  Sons. 

XXXIX. 

XIII. 

Ormond  the  Brave. 

XL. 

XIV. 

Fathom  the  Bowl. 

XLI. 

XV. 

Sweet  Nightingale. 

XLII. 

XVI. 

Widdecombe  Fair. 

XLIII. 

XVII. 

The  Imprisoned  Lady. 

XLIV. 

{For  Four  Voices.) 

XLV. 

XVIII. 

The  Silly  Old  Man. 

XL  VI. 

XIX. 

The  Seasons. 

XX. 

The  Chimney  Sweep. 

XLVII. 

XXI. 

The  Saucy  Sailor. 

XLVIII. 

XXII. 

Blue  Muslin. 

XLIX. 

XXIII. 

The  Squire  and  the  Fair  Maid. 

M 

XXIV. 

Hal-an-Tow,      the       Helston 

L. 

Furry  Dance. 

XXV. 

Blow      Away,      ye      Morn 

ing 

LI. 

Breezes. 

LII. 

A  Hearty  Good  Fellow. 
The  Bonny  Bunch  of  Roses. 
The  Last  of  the  Singers. 
The  Tythe  Pig. 
My  Lady's  Coach. 
Jan's  Courtship. 
The  Drowned  Lover. 
Childe,  the  Hunter. 
The  Cottage  Thatch'd  with 
Straw. 

Cicely  Sweet.     {Duet.) 

A  Sweet  Pretty  Maiden. 

The  Green  Cockade. 

The  Sailor's  Farewell. 
Ditto.     {As  Duet  and  Chorus.) 

A  Maiden  Sat  a  Weeping. 

The  Bonny  Blue  Kerchief. 

An  Evening  so  Clear. 

The  Warson  Hunt. 

The  Green  Bushes. 

The  Broken  Token. 

The  Rout  is  Out. 

Why     Should   we    be    Dul- 
lards Sad  ? 

May  Day  Carol. 

Nancy. 

Lullabye. 
{With  Violin  Accompaniment.) 

The     Gipsy     Countess,     in 
Two  Parts. 

The  Grey  Mare. 

The  Wreck  off  Scilly. 


CONTENTS 

(Continued.) 


LIII. 

Henry  Martin.                          [ 

LXXXIII. 

LIV. 

Plymouth  Sound. 

LXXXIV. 

LV. 

Farewell  to  Kingsbridge. 

LXXXV. 

LVI. 

Furze  Bloom. 

LXXXVI. 

LVII. 

The  Oxen  Ploughing. 

LXXXVII. 

LVIII. 

Something  Lacking. 

LXXXVIII. 

LIX. 

The  Simple  Ploughbov. 

LX. 

The  Wrestling  Match. 

LXXXIX. 

LXI. 

LXII. 

LXIII. 

LXIV. 

LXV. 

LXVI. 

LXVII. 

The  Painful  Plough. 
Broadbury  Gibbet. 
The  Orchestra. 
The  Golden  Vanity. 
The  Bold  Dragoon. 
Trinity  Sunday. 
The  Blue  Flame. 

XC. 

XCI. 

XCII. 

XCIII. 

XCIV. 

XCV. 

LXVIII. 

Strawberry  Fair. 

XCVI. 

LXIX. 

The  Country  Farmer's  Son. 

XCVII. 

LXX. 

The  Hostess'  Daughter. 

XCVIII. 

LXXI. 

The  Jolly  Gosshawk. 

XCIX. 

LXXII. 

Fair  Girl,  Mind  This. 

LXXIII. 

On  a  May  Morning  so  Early. 

c. 

LXXIV. 

The  Spotted  Cow. 

CI. 

LXXV. 

Cupid  the  Ploughboy. 

GIL 

LXXVI 

Come,   my  Lads,   Let   us   be 
Jolly. 

cm. 

LXXVII 
LXXVIII 

Poor  Old  Horse. 
The  Dilly  Song. 

CIV. 

[For  Three   Voices.) 

cv. 

LXX  IX 

The  Mallard. 

CVI. 

{Duet  and  Clwnis.) 

evil. 

LXXX 

.  Constant  Johnny.     [Duet.) 

CVIII. 

LXXXI 

.  The  Duke's  Hunt. 

CIX. 

LXXXII 

.  The  Bell  Ringing. 

ex. 

A  Nutting  We  Will  Go. 

Down  by  a  River  Side. 

The  Barley  Rakings. 

Deep  in  Love. 

The  Rambling  Sailor. 

A  Single  and  a  Markied 
Life. 

Midsummer  Carol. 

{For  Four  Voice-:.) 

The  Blackbird. 

The  Green  Bed. 

The  Loyal  Lover. 

The  Streams  of  Nantsian. 

The  Drunken  Maidens. 

Tobacco  is  an  Indian  Weed. 
{Canon.) 

Fair  Susan  Slumbered. 

The  False  Lover. 

Barley  Straw. 

Death  and  the  Lady. 

{Solo,  or  Quartette.) 

Adam  and  Eve. 

I  Rode  my  Little  Horse. 

The  Saucy  Ploughboy. 

I'll      Build      Myself      a 
Gallant  Ship. 

{For  Four  Voices.) 

The  Everlasting  Circle. 

All  in  a   Garden. 
,  Hunting  the  Hare. 
.  Dead  Maid's  Land. 
,  Shower  and  Sunshine. 
.  Haymaking  Song. 
.  Bibberly  Town. 


PREFACE. 


HEREVER  Celtic  blood  flows,  there  it  carries  with  it  a  love  of 
music  and  musical  creativeness.  Scotland,  Wales,  Ireland, 
Brittany,  have  their  national  melodies.  It  seemed  to  me  incredible 
that  the  West  of  England — the  old  Kingdom  of  Damnonia — Devon 
and  Cornwall,  where  the  Celtic  element  is  so  strong,  should  be 
void  of  Folk-Music.  When  I  was  a  boy  I  was  wont  to  ride  round  and  on 
Dartmoor,  and  put  i  p  at  little  village  taverns.  There — should  I  be  on  a  pay- 
day— I  was  sure  to  hear  one  or  two  men  sing,  and  sing  on  hour  after  hour,  one 
song  following  another  with  little  intermission.  But  then  I  paid  no  particular 
attention  to  these  songs. 

In  iS83  it  occurred  to  me  that  it  would  be  well  to  make  a  collection — at  all 
events  to  examine  into  the  literary  and  musical  value  of  these  songs,  and  their 
melodies.  I  could  not  find  that  any  one  had  taken  the  pains  to  gather  in  this 
field.  The  only  Cornish  songs  generally  known  were  the  "  Helston  Furry  Dance," 
which  is  claimed  by  Cornishmen  as  an  ancient  British  melody,  but  which  is  a 
hornpipe  in  common  measure,  not  older  than  the  middle  of  last  century;  and 
"  Trelawny,"  which  is  a  ballad  reconstructed  by  the  late  Rev.  R.  Hawker, 
Vicar  of  Morwenstowe,  the  tune  of  which  is  merely  "  Le  Petit  Tambour,"  and 
therefore  not  Cornish  at  all.  Through  local  papers  I  appealed  to  the  public  in  the 
West  for  traditional  songs  and  airs.  I  received  in  return  a  score  of  versions  of  one, 
"  The  Widdecombe  Fair."  However,  1  heard  from  the  late  C.  Spence  Bate,  Esq.,  of 
The  Rock,  South  Brent,  that  there  were  two  notable  old  men  singers  in  that  place  ; 
and  I  also  knew  of  one  in  my  own  neighbourhood.  Tlie  latter,  James  Parsons,  a 
day  labourer,  well  known  in  public-houses  as  a  "  song-man,"  was  the  son  of  a  still 
more  famous  song-man,  now  dead,  who  went  by  the  nick-name  of  "  The  Singing- 
Machine."  I  sent  for  him,  a  man  of  about  74  years,  and,  after  a  little  urginr, 
persuaded  him  to  sing.  From  him  I  procured  about  five-and-twenty  ballads  and 
songs,  some  of  a  very  early  and  archaic  character,  certainly  not  later  than  the  reign 
of  Henry  VII.,  which  he  had  acquired  from  his  father. 

Accompanied  by  F.  W.  Bussell,  Esq.,  Fellow  of  Brazenose  College,  Oxford,  an 
accomplished  musician,  I  then  visited  South  Brent,  and  we  enjoyed  the  hospitality 
of  Mr.  Spence  Bate.  Then,  on  that  occasion,  we  obtained  some  more  songs.  A 
second  visit  to  Soutli  Brent,  with  the  Rev.  H.  Fleetwood  Sheppard,  resulted  in 
almost  exhausting  that  neighbourhood,  from  which  we  derived  about  fifty.  The 
chief  singers  there  were  an  old  miller  and  a  crippled  labourer,  who  broke  stones 
on  the  road. 

At  Belstone,  as  I  learned  from  J.  D.  Prickman,  Esq.,  of  Okehampton,  lived  an  old 
yeoman,  with  stalwart  sons,  all  notable  singers.  Mr.  Sheppard  and  I  met  this  old 
man.  Belstone  is  a  small  village  under  the  rocks  of  Belstone  Tor,  on  the  edge  of 
Dartmoor,  a  wild  and  lonesome  spot.     From  this  yeoman  we  acquired  more  songs. 

The  Rev.  H.  Fleetwood  Sheppard  and  I  next  penetrated  to  the  very  heart  of 
Dartmoor,  and  saw  Jonas  Coaker,  an  old  blind  man,  of  8g  years,  very  infirm,  and  only 
able  to  leave  his  bed  for  a  few  hours  in  the  day.  He  is,  however,  endowed  with  a 
remarkable  memory.  From  him,  and  helped  by  Mr.  J.  Webb,  captain  of  a  tin  mine, 
hard  by,  who  could  recall  and  very  sweetly  sing  the  old  melodies,  we  gleaned  several 
important  and  interesting  songs,  with  their  traditional  airs. 

Further  stores  were  yielded  by  a  singing  blacksmith,  John  Woodrich,  at  Wollacott 
Moor,  in  the  parish  of  Thrushleton  ;  also  by  Roger  Luxton,  of  HaKvell,  N.  Devon, 
aged  76  ;  James  Oliver,  tanner,  Launceston,  aged  71,  a  native  of  St.  Kewe,  Cornwall  ; 
William  Rice,  labourer,  Lamer'.o  1,  aged  75;  John  Rickards,  of  Lamerton  ;  John  Masters, 
of  Bradstone,  aged  83 ;   William  Friend,  labourer,  Lydford,   aged   6?. ;  Edmund  Fry 


Vlll. 

thatcher,  a  native  of  Levant,  Cornwall ;  Will  and  Roger  Hucrgins,  Lydford  ;  John 
Woolrich,  labourer,  Broadwoodwidgcr  ;  Matthew  Baker,  a  poor  cripple,  aged  72,  Lew 
Down  ;  some  songs  taken  down  from  moor-men  on  Dartmoor  in  or  about  1SG8  were 
sent  me  by  W.  Crossing,  Esq.,  of  South  Brent  ;  others  from  Chagford,  Menheniot, 
and  Liskeard,  and  more  recently  from  Mawgan  in  Pyder,  and  Padstow. 

I  find  that  in  addition  to  one  large  common  store  of  songs  and  ballads,  each 
place  visited  and  explored  yields  up  two  or  three  which  are,  so  to  speak,  particular 
to  each  village,  or  musical  centre.  1  have  no  hesitation  in  saying  that  several  hundreds 
of  ballads  and  songs,  with  their  melodies,  may  by  this  means  be  collected,  of  which 
perhaps  a  third  are  very  good,  a  third  good,  and  the  remainder  indifferent. 

The  singers  are  nearly  all  old,  illiterate, — their  lives  not  worth  five  3'ears' 
purchase,  and  when  they  die  the  traditions  will  be  lost,  for  the  present  generation 
will  have  nothing  to  say  to  these  songs, — especially  such  as  are  in  minor  keys,  and 
supplant  them  with  the  vulgarest  Music  Hall  performances.  The  melodies  are  in 
many  instances  more  precious  than  the  words.  Ballads  that  were  printed  in  London, 
Bristol,  Exeter,  Plymouth,  became  common  property  throughout  England,  but  then, 
here  in  the  West,  these  ballads  imported  from  elsewhere,  were  set  to  tunes  already 
traditional.  The  words  were  less  frequently  of  home  growth  than  the  airs.  For 
instance,  the  17th  century  song,  "  I  sowed  the  seeds  of  Love,"  I  found  was  known 
by  James  Parsons,  but  not  to  the  tune  to  which  wedded  elsewhere,  and  to  which  the 
verses  are  said  to  have  been  written.  "  The  Outlandish  Knight,"  again,  is  sung  to 
an  entirely  indepenent  tune.  On  the  other  hand,  "  Cuper's  Garden,"  a  song  of  the 
beginning  of  last  centurj',  was  sung  to  me  to  the  same  tune,  slightly  varied  only, 
as  that  given  by  Chappell.  In  a  good  number  of  cases  I  have  found  that  the  illiterate 
men  sing  a  less  corrupt  form  of  a  ballad  that  such  as  appears  on  broadsides.  The  younger 
men  always  sing  from  the  broadside  copies. 

The  minstrels  were  put  down  by  Act  of  Parliament  in  1597,  and  most,  if  not  all 
early  ballad  tunes  belong  to  a  period  still  earlier.  There  was  a  recandescence — 
excuse  the  word — of  ballad  music  in  the  reign  of  Charles  II.,  but  the  character 
of  the  tunes  of  that  period  is  distinct.  We  have  been  able  to  recover  several  early 
ballad  tunes,  some  in  their  most  archaic  form,  which  consisted  of  four  lines  in  CM. 
only,  but  others  altered  and  extended,  for  in  process  of  time  singers  added  four  more 
lines,  which  are  a  slight  variation  of  the  theme.  We  have  preserved  these  additions, 
as   they  do  not  interfere  with  the  original  melody. 

In  the  reign  of  Charles  II.  appeared  Tom  D'Urfey,  a  native  of  Exeter,  who 
compiled  six  volumes  of  songs,  with,  their  airs;  to  two  of  the  volumes  all  the  words 
are  his  own,  but  the  tunes  he  took  whence  he  could,  and  unquestionably  he  utilized 
for  his  purpose  melodies  he  had  heard  in  his  native  county,  and  which,  through 
the  press,  he  gave  to  become  the  common  property  of  all  Englishmen.  Nay,  further, 
some  of  them  crossed  the  border  and  were  appropriated  as  Scotch  songs.  A  fashion  had 
set  in  for  Scotch  songs,  and  several  demonstrably  English  airs  were  set  by  D'Urfey 
and  his  imitators  to  quasi  Scotch  words.  Then  came  Allan  Ramsay  and  Burns,  who  dis- 
carded the  ridiculous  imitation  Scotch  dialect  of  these  English  composers,  and  set  these 
same  tunes  to  real  Scottish  words,  and  so  these  melodies  came  to  be  claimed  as  belonging 
to  the  land  beyond  the  Tweed.  One  instance  of  the  manner  in  which  English  tunes 
were  appropriated  may  be  given.  James  Johnson,  of  Edinburgh,  published  his  collection 
of  what  he  considered  to  be  native  songs  of  Scotland  at  the  end  of  last  centur}',  yet, 
within  the  first  twenty-four  songs  of  his  first  volume  were  compositions  by  Purcell, 
Arne,  Hook,  Berg,  and  BattishiU  Scottish  compilers  had  the  notion  that  all  Scotch 
songs  were  without  certain  intervals,  and  they  did  not  at  all  scruple  to  adapt  English 
tunes  and  give  them  a  Scotch  flavour  by  altering  such  notes  as  contravened  this 
imaginary  canon.  When  we  come  to  consider  the  dates  of  the  melodies  collected, 
we  find  that  they  vary  very  considerably,  and  the  affixing  of  a  date  can  only  be 
tentative.  Tunes  may  be  roughly  classed  by  the  instruments  by  which  they  were 
intended  to  be  accompanied,  or  on  which  they  were  to  be  played.  The  earliest 
melodies  were  composed  to  the  harp,  the  lute,  and  the  bagpipe.  Then  came  the  fiddle, 
and  finally  the  hornpipe.  All  CM.  hornpipe  tunes  belong  to  the  i8th  century.  The 
triple  time  tunes  are  somewhat  earlier.  Chaucer  speaks  of  the  hornpipe  as  a  Cornish 
instrument.  A  good  many  of  the  words  in  the  old  songs  have  lost  their  meaning  to  the 
singers,  and  a  correct  version  is  only  to  be  obtained  by  comparing  several  obtained  in 


IX. 

different   quarters.     I   was  much  puzzled    when  I  took  down  "  Cuper's  Garden  "   by 
the  lines — 

•'  The  third  she  was  the  virgin, 
And  she  was  lorrioware  ;  " 

but  when  I  looked  at  the  printed  song,  I  found  that  the  original  stood  thus: — 

"  The  third  she  was  a  virgin, 

And  she  tLie  laurel  wore." 

One  must  not  be  surprised  to  find  "Tragedy"  turned  into  "  dragotee,"  "galore" 
into  "  glorore,"  and  "  Tlie  Outlandish  Knight"  converted  into  "The  Outlandish 
Cat,"  and  "  The  Bay  of  Biscay  "  into  "  The  Bag  of  Biscuits."  We  have  endeavoured 
to  trace  the  tunes  in  the  six  volumes  of  D'Urfey,  in  "  The  Musical  Miscellany  " 
(1731),  in  six  volumes,  "Apollo's  Cabinet"  (1757),  and  in  several  of  the  editions 
as  "  The  Complete  Dancing  Master."  Tliere  were  eighteen  of  these  between 
1650  and  1728.  We  searched  also  such  ballad-operas  as  we  could  obtain,  but 
without  much  success.  Chappell's  "  Popular  Music  of  the  Olden  Time  "  has  also  been 
of  great  assistance.  Some  of  the  airs  are  later,  and  these,  it  is  possible,  may  have 
been  printed  ;  if  so,  it  is  without  our  knowledge.  Our  object  is,  as  far  as  possible, 
with  only  a  rare  exception  or  two,  to  confine  ourselves  to  printing  such  as  we 
believed  to  be  unpublished,  and  all  we  give,  with  such  exceptions  as  shall  be 
notified,  are  taken  down  from  oral  recitation. 

In  some  instances  the  ballads  reveal  a  rudeness  of  manner  and  morals  that 
make  it  impossible  for  me  to  publish  the  words  exactly.  We  have  endeavoured  to 
obtain  three  or  four  versions  of  the  same  ballads  and  tunes,  and  are  by  this  means 
enabled  to  arrive  at  what  we  believe  to  be  the  most  correct  form  of  both.  But  as 
to  the  antiquary  everything  is  important  exactly  as  obtained,  uncleansed  from 
rust  and  unpolished,  it  is  the  intention  of  Mr,  Sheppard  and  myself  to  deposit 
a  couple  of  copies  of  the  songs  and  ballads,  with  their  music  exactly  as  taken 
down,  one  in  the  library  of  the  Exeter,  the  other  in  that  of  the  Plymouth  Institution, 
for  reference. 

As  already  said,  in  five  years'  time  all  will  be  gone ;  and  this  is  the  supreme  moment 
at  which  such  a  collection  can  be  made.  Our  traditional  music  lies  in  superimposed 
beds.  Among  the  yeomen  and  farmer  class,  a  few,  chiefly  hunting  songs  remain,  such 
as  "  Arscott  of  Tetcott,"  and  such  as  "The  Widdecombe  Fair."  They  know  notliing 
of  those  in  the  social  bed  below,  wliich  is  the  most  auriferous,  and  the  old  song-men 
who  sang  for  their  "  entertainment  "  in  taverns  do  not  know  the  songs  sung  at  the 
firesides  of  the  yeomen. 

It  has  been  asked  by  not  a  few — How  is  it  that  these  songs  are  so  unprovincial  ? 
For  one  reason :  Because  they  are  an  heirloom  of  the  past,  from  a  class  of 
musicians  far  higher  in  station  and  culture  than  those  who  now  possess  the  treasure. 
In  many  cases,  probably,  our  West  of  England  song-men  are  lineal  descendants  of  the 
old  minstrels  or  gleemen  put  down  by  Act  of  Parliament  in  1597,  and  forbidden  to  go 
about  from  place  to  place.  In  the  next  place,  all  such  broad  dialect  songs  as  have 
come  to  us,  prove  to  be  modern  compositions  by  educated  writers,  who  have  amused 
themselves  in  writing  dialect  songs,  as  Lord  Tennyson  wrote  his  "  Northern 
Farmer,"  and  as  many  Scottish  poets  have  written  provincial  dialect  songs.  The 
songs  and  ballads  were,  of  course,  recited  and  sung  to  me  in  broad  Devonshire  or 
Cornish,  but  this  was  not  of  the  essence  of  the  songs,  and  I  have  not  thought  it 
necessary  to  reproduce  the  dialect.    It  can  always  be  added,  by  anyone  familiar  with  it. 

When  the  minstrels  were  forbidden  to  journej'  from  place  to  place,  by  the  Act 
of  1597,  they  settled  down  in  country  places,  married,  took  to  some  trade,  or  became 
workers  on  the  land,  and  supplemented  their  wages  from  what  they  could  pick  up  at 
Whitsunales,  May-games,  Sheep-shearings,  Harvest  Homes,  Christmas  Feasts,  Wakes, 
and  Weddings.  They  handed  on  their  stock-in-trade  of  old  ballads  and  songs  to  their 
sons,  and  thus  it  came  about  that  certain  families  were  professional  village  musicians 
from  generation  to  generation.  In  process  of  time  they  dropped  out  of  their  collection 
some  of  the  ruder  melodies  and  ballads,  and  adopted  such  as  had  come  into  fashion  ; 
thus  there  was  a  continuous  accretion  on  one  side,  and  loss  on  the  other.    Ncvertlieless, 


a  considerable  reskluum  of  early  music  has  remained.  We  have  given  samples 
of  all  kinds.  In  some  cases — but  not  many — the  niclodies  mny  have  been  composed 
by  the  song-men  themselves,  or,  what  is  more  likely,  they  have  taken  known 
melodies  and  altered  them  according  to  their  own  provincial  musical  ideas.  An 
example  or  two  of  these  will  be  given. 

I  have  said  that  I  think  that  some  of  the  melodies  may  have  been  composed 
by  the  song-men  themselves,  but,  I  contend,  only  some,  an  infinitesimally  small 
number,  and  such  are  musically  worthless,  and  I  doubt  if  one  of  these  is  included 
in  this  collection.  It  must  be  borne  in  mind  that  folk-music  is  nowhere  spontaneous 
and  autochthonous.  It  is  always  a  reminiscence,  a  heritage  from  a  cultured  past. 
Tiie  yokel  is  as  incapable  of  creating  a  beautiful  melody  as  he  is  of  producing  a 
piece  of   beautiful  sculpture,  or  of  composing  a  genuine  poem. 

M.  Loquin,  in  a  series  of  articles  on  the  Folk-music  of  France,  in  "  Melusine," 
1S88-9,  points  out  that  nearly  all  Gallic  folk-melodies  are  derived  from  the  early 
masters  of  music  in  France,  Lully,  Lambert,  Campra,  Gilliers,  &c.  They  have  not  all 
been  traced,  but  they  are  almost  all  traceable.  In  England  the  opera  never  influenced 
folk-music  as  it  did  in  France  ;  the  reverse  took  place,  the  folk-music  drove  out 
at  one  time  tlie  Italian  opera,  and  Ballad  operas  were  all  the  vogue,  the  old  folk- 
melodies  being  united  to  new  words.  But  it  does  not  follow  that  these  folk 
melodies  were  the  spontaneous  productions  of  the  people.  On  the  contrary,  they 
were  heirlooms  preserved  by  the  people,  the  creation  of  skilled  musicians  in  the 
past.  I  have  stated  that  the  minstrels  were  put  down  by  Act  of  Parliament  in 
1597.  Still  more  severe  Acls  were  passed  against  them  in  the  Third  Parliament 
of  Oliver  Cromwell.  The  result  was  that  the  minstrels  settled  down  in  the  country 
and  followed  trades,  supplementing  their  earnings  from  their  trade  by  what  they 
made  at  village  festivals.  So  also  the  cultured  musicians  attached  to  cathedrals 
and  theatres  were  dispersed  by  the  Puritans  at  the  time  of  the  Commonwealth, 
and  they  also  settled  down  in  the  country  places,  where  they  taught  village  choirs, 
or  else  went  abroad.  Thus  we  have  music  of  Henry  VII.  and  Henry  VIII. 's 
reigns,  and  we  have  music  of  the  time  of  James  I.  and  Charles  I.,  sung  by  our 
villagers, — none  of  it  their  own  production,  all  inherited  from  the  minstrels  and 
the  Caroline  musicians.  In  the  Hanoverian  period  there  were  musical  men  under- 
standing counterpoint  throughout  the  land,  a  school  of  them  in  Cornwall  and 
Devon.  Their  old,  somewhat  elaborate  church  music  remains  in  IMS.  in  many  an 
old  church  chest,  and  Mr.  Heath,  of  Redruth,  has  recently  published  some  of 
their  carols. 

Now,  our  folk-music,  and  not  ours  only  but  that  of  Scotland  and  Ireland,  of 
France  and  Germany,  and  Italy  as  well,  is  a  veritable  morraine  of  rolled  and 
ground  fragments  from  musical  strata  far  away.  It  contains  melodies  of  all  centuries 
down  to  the  present,  all  thrown  together  into  one  confused  heap. 

Of  French  folk-music  M.  Loquin  says:  "To  the  question,  Have  all  popular 
melodies  an  artistic  origin?  I  would  not  answer  with  an  unqualified  Yes;  that 
would  be  going  a  little  too  far,  but  I  do  say  that  we  have  no  reason  to  assert  that 
a  melody  is  original  because  we  have  so  far  failed  to  track  it.  Some  day  or  other 
it  is  almost  certain  to  turn  up  in  some  unengraved  ballet  music,  or — such  as  the 
malice  des  clioses — in  a  collection  every  one  has  in  hand,  one  turned  over  by  cverj* 
writer  on  music,  and  yet  for  some  reason  or  other  it  has  not  been  recognised  there. 
What  I  do  assert  is  that  nearly  all  the  popular  melodies  have  a  perfectly  well 
established  musical  urban  origin.  That  I  can  affirm  wath  confidence,  for  I  have 
the  evidence  in  both  hands.  But  that  is  not  all.  Of  such  tunes  as  have  been 
composed  by  village  singers,  very  few  they  are, — what  are  they,  in  fact  ?  Naught 
but  a  jumble  of  phrases  caught  from  pre-existing  songs,  reminiscences  badly  fused 
together  of  songs  sung  in  the  towns  at  one  time  and  then  forgotten.  So  true 
is  it  that  everything  here  below  has  its  origin,  which  origin  is  not  always  easy 
to  find." 

Now,  if  this  be  so — and  that  it  may  be  so  is  quite  possible — it  may  be  asked, 
what  is  the  good  of  collecting  folk-melodies  ?  and  secondly,  what  riglit  have  you  to 
claim  those  you  have  collected  as  belonging  to  the  Celtic  parts  of  Devon  and  of 
Cornwall?     I  will  answer  bolh  questions  at  once. 


zi. 

Directly  the  Exe  is  crossed  we  come  into  a  different  musical  deposit.  I  do  not 
say  different  in  kind,  for  music  was  the  same  everj'where  in  certain  epochs,  and 
where  certain  instruments  were  in  use.  For  instance,  a  harp  tune  was  of  the  same 
character  in  Ireland,  in  Wales,  in  Cornwall,  in  Scotland,  and  in  France;  and  a 
bagpipe  tune  or  a  hornpipe  tune  had  the  same  character  everywhere.  But  what 
I  find  is  that  songs  and  ballads  sung  to  their  traditional  melodies  in  Somersetshire, 
in  Sussex,  in  Yorkshire,  and  Northumberland,  are  sung  to  quite  independent  airs  on 
Dartmoor  and  in  Cornwall.  How  is  this  ?  Because  the  same  process  went  on  in 
the  West  as  in  Scotland. 

The  Celtic  tongue  retrograded  and  finally  expired  in  Cornwall.  Then  English 
ballads  and  songs  found  their  way  into  Cornwall,  as  they  found  their  way  into 
Scotland  and  Ireland,  and  were  set  to  already  familiar  melodies  thenceforth  dis- 
sociated from  their  no  longer  understood  words.  Take  an  instance.  There  is  in 
Welsh  a  song  on  the  pleasures  of  the  bottle,  "  Glan  meddwdod  mwyn."  New 
precisely  the  same  melody  was  sung  in  Cornwall,  almost  certainly  to  words  of  a 
like  nature.  When  the  Cornish  tongue  ceased  to  be  spoken,  then  this  melody  was 
applied  to  a  broadside  drinking  song,  "  Fathom  the  Bowl."  But  "  Fathom  the 
Bowl"   has,  everywhere  else,  its  own  traditional  air. 

Another  well-known  song  is  "Tobacco  is  an  Indian  weed,"  another  is  "Joan's 
Ale  is  New,"  both  w'edded  one  would  have  supposed  indissolubly  to  their  traditional 
airs  known  everywhere  else  in  England.  But  not  so  in  Cornwall  and  on  Dartmoor  ; 
there  these  words  are  set  to  quite  independent  melodies — melodies  that  probably  had 
accompanied  words  in  the  old  Cornish  tongue  in  former  limes.  To  descend  later. 
Broadside  ballads,  and  songs  in  "  Warblers,"  and  "  Apollo's  Cabinets,"  &c.,  got 
down  into  the  West,  unassociated  with  music.  Then,  again,  the  local  composers 
went  to  work  and  set  them  to  tunes  of  their  own  creation.  Thus,  "  Sweet  Night- 
ingale "  was  a  song  by  Bickerstaff,  to  which  Dr.  Arne  wrote  music  in  1761,  and  it 
was  sung  in  an  opera  in  London.  The  words  got  into  a  song-book,  "  The  Syren," 
which  found  its  way  into  Cornwall.  Some  village  musician — no  bumpkin  at  the 
plough  tail — set  it,  and  it  was  sung  by  the  miners  in  their  adits  and  the  labourers 
in   tlie  fields  to  the  locally  produced  air,   not   to  that  by  Dr.   Arne. 

Consequently,  I  am  able  to  answer  both  questions  at  once.  I  hold  that  these 
melodies  are  of  West  of  England  origin  in  a  majority  of  cases,  and  that  they  are 
worth  collecting,  because  they  are  the  remains  of  a  school  of  cultured  musicians 
that  has  passed  away  unheard  of  out  of  their  own  counties. 

Now  for  another  point. 

Were  any  of  the  melodies  sung  in  the  West  borrow^ed,  as  were  many  of  the 
words  ?  Certainly  they  w'ere.  All  people  borrow.  The  Irish  have  borrowed.  The 
Scotch  have  "  lifted "  English  folk-tunes  by  the  scores.  The  Flemmings,  the 
Germans,  the  French  have  all  borrowed  of  the  English.  Horace  Walpole  heard 
"  Buttered  Pease,"  and  "  Cold  and  Raw,"  and  other  country  dances  played  at  the 
palace  of  the  Grand  Duke  of  Tuscan}'  in  1740.  Quite  recently  (iSgo)  a  volume  of 
English  music  in  IMS.  has  turned  up  in  the  library  of  Trent.  The  song,  "  Shall 
Trelawney  die  ?  "  is  sung  to  "  Le  petit  Tambour,"  a  French  melody.  I  have  heard 
an  old  ballad  sung  in  Devon  to  the  Scotch  "  Auld  lang  syne."  The  Irish  sing 
"The  wearing  of  the  Green"  to  an  old  English  melody.  They,  on  one  side,  and 
the  Scotch  on  the  other,  have  appropriated  the  ancient  English  melody  of  "  Paul's 
Steeple,"  found  in  Playford's  ''Dancing  Master,"  in  1650,  and  have  converted  it 
in  the  one  case  into  "  Cruiskeen  Lawn,"  in  the  other  into  "John  Anderson,  my 
Jo."  There  has  been  give  and  take  on  all  sides :  with  regard  to  old  English  airs 
mostly  take.  How  many  of  the  melodies  we  have  collected  in  the  West  can  be 
determined  as  borrowed  we  are  unable  to  saj'.  Mr.  Sheppard  has  not  had  the 
time,  nor  have  I  the  ability  to  follow  the  track  of  melodies  through  the  vast 
collections  of  past  days.     All  we  pretend  to  do  is  to  give  up  wh.at  we  have  gathered. 

One  w'ord  further  as  to  our   method. 

We  have  taken  down  all  the  variants  of  the  same  air  we  have  come  across,  and 
have  given  that  form  of  tk.e  air  which  seemed  to  us  most  genuine.  In  some  cases 
where  we  could  obtain  no  variants,  we  have    printed  what  we  received,  as  received 


Xll. 

from  the  only  singer  we  fuund  wlio  knew  that  air.  The  necessity  for  having 
several  variants  arises  from  this  fact.  When  a  party  of  singers  are  together,  or 
when  one  man  sings  a  succession  of  ballads,  the  memory  becomes  troubled  ;  the 
first  two  or  three  melodies  are  given  correctly,  but  after  that,  the  airs  become 
deflected  and  influenced  by  the  airs  last  sung.  At  Two  Bridges  one  old  singer, 
G.  Kerswell,  after  giving  us  "  The  Bell-ringer,"  sang  us  half-a-dozen  otlu  r  ballads, 
but  the  melody  of  the  bells  went  through  them  all  and  vitiated  them  all  so  as  to 
render  them  worthless.  On  another  occasion,  we  took  down  four  or  five  airs 
all  beginning  alike,  because  one  singer  impressed  this  beginning  on  the  minds  of 
the  others.  At  another  time,  when  this  impression  was  worn  off,  they  would  sing 
truly  enough,  and  then  the  beginnings  would  be  different.  To  obtain  the  music  we 
have  gathered  is  not  so  easy  a  matter  as  might  be  supposed  ;  and  I  venture  to  think 
that  only  a  native  of  the  West,  one  thoroughly  understanding  the  people,  their  ways, 
their  prejudices,  the  turns  and  twists  of  their  minds,  could  do  it.  Tlie  aged  men 
from  whom  the  collection  has  been  made  have  been  laughed  down,  and  silenced  for 
thirty  or  forty  years.  The  generation  that  has  grown  up  since  those  singing  days 
heartily  despise  this  old  world  music.  One  day  Mr.  Bussell  and  I  had  been  sitting 
in  a  little  thatched  cottage  listening  to  two  aged  song-men,  one  nearly  blind,  the 
other  childish  with  age,  and  had  reverently  and  lovingly  noted  down  their  ballads 
and  melodies.  Then  we  went  into  a  farm-house,  and  there  asked  our  direction 
across  the  moors;  we  told  the  farmer  and  his  wife  what  we  had  been  doing. 
They  laughed  till  tlie  tears  ran  down  their  cheeks  at  the  bare  idea  of  anything 
worth  having  being  obtained  from  old  Gerard  and  Stoneman.  "  Ah !  "  said  the 
farmer's  son,  "Come  in.  I'll  sing  you  a  song,  a  first-rate  one,  'What  a  shocking 
bad  hat.'  That  is  something  worth  your  having."  We  have  driven  and  walked 
in  storms  of  rain  and  wind  over  Dartmoor,  and  have  sat  with  hands  that  shivered 
with  cold  on  a  moorstone  taking  down  ballads  from  some  old  shepherd  or  an  aged 
crone.  But  we  have  also  gathered  the  hearty  moor-men  about  a  great  fire,  and 
after  a  good  supper  have  spent  with  them  very  merry  evenings.  I  venture  to 
believe  that  the  warm  shake  of  the  hand  and  the  cheery  smile  that  welcome  us 
wherever  we  go,  are  evidence  that  we  have  reached  the  hearts  of  these  old  and 
failing  men — and  have  kindled  in  them  again  a  spark  of  pride  in  their  old  world 
loved  music  that  has  been  disparaged,  jeered  at,  by  the  board-school  bred 
new  generation,  and  so  have  enabled  them  proudly  to  raise  their  old  grey  heads 
again,  in  the  thought  that  they  have  been  the  means  of  transmitting  to  the  new 
age  a  whole  body  of  precious  melody,  that  but  for  them  would  have  been 
absolutely  and  irretrievably  lost.  I  am  glad  also  to  be  able  to  say  that  I  have 
been  able,  through  profits  realised  by  concerts  of  this  West  of  England  music,  to  help 
some  of  these  poor  old  fellows  when  suffering  from  accidents  and  the  infirmities 
of  extreme  old  age.  In  conclusion,  I  must  express  my  thanks  to  Mr.  F.  W. 
Bussell  for  his  unflagging  good  humour  and  readiness  to  go  with  me  anywhere 
and  in  any  weather  after  a  song-man.  I  am  unable  myself  to  note  a  melody  if 
I  have  not  an  instrument,  and  most  of  these  airs  must  be  gleaned  in  the  cottages, 
often   miles  away  from  any  piano. 

Mr.  W.  Crossing,  of  South  Brent,  and  Mr.  T.  S.  Cayzer  have  given  us 
melodies  collected  on  the  moor  twenty  and  thirty  years  ago.  Those  noted  down  by 
Mr.  Sheppard  are  so  described  in  the  text.  Our  budget  must  not  be  supposed  to 
be  exhausted  ;  something  like  300  airs  have  been  collected.  W'hat  we  have  done 
is  to  give  samples  of  the  various  sorts,  with  not  too  large  a  preponderance  of  the 
earliest  and  most  ancient  melodies,  which,  though  to  us  of  the  highest  interest, 
would  not  perhaps  meet  with  general  appreciation.  We  have  found  it  more  difficult 
to  decide  what  to  omit,  than  what  to  include. 

I.  "  By  Chance  it  was."  Music  and  words  dictated  by  James  Parsons, 
hedger,  Lew  Down.  Learned  from  his  father,  "The  Singing  Machine,"  a  very 
famous  song-man,  who,  when  turned  on  could  go  on  and  never  stop — so  it  was 
reported.  His  son  says  that  his  father  certainly  knew  200  ballads  and  songs. 
Some  of  the  best  and  earliest  melodies  have  been  derived  by  us  from  Parsons. 

This  song  is  to  be  found  (as  far  as  the  words  go)  in  a  collection  of  early 
ballad  books  in  the  British  Museum,  entitled  "  The  Court  of  Apollo."  It  consists 
of  six   verses,  the  first  three  of  which  are  almost  word  for  word  the  same.     The 


Xlll. 

others  vary  somewhat.      In   "  The  Songster's  Favourite,"  another  and  later  collec- 
tion, the  same  song  occurs.     It  is  in  three  verses  only  and  in  a  very  corrupt  form. 

A  second  version  of  the  melody  was  obtained  from  Bruce  Tyndall,  Esq.,  of 
Exmouth,  who  learned  it  from  a  Devonshire  cook  in  1839  or  1840.  The  melody 
was  slightly  modernised. 

II.  "The  Hunting  of  Arscott  of  Tetcott."  This  song,  once  vastly  popular 
in  North  Devon,  and  at  all  hunting  dinners,  is  now  nearly  forgotten.  The 
words  have  been  published  in  "John  Arscott  of  Tetcott,"  Luke,  Plymouth.  A 
great  many  variations  of  the  words  are  found.  An  early  copy  was  supplied  me 
by  R.  Kelly,  Esq.,  of  Kelly.  Another  by  a  gentleman,  now  dead,  in  his  grand- 
mother's handwriting,  with  explanatory  notes.  In  the  first  edition  I  stated  that  as 
it  was  impossible  to  reconcile  the  date,  1752,  with  any  John  Arscott,  I  thought 
the  date  must  be  1652,  and  the  song  refer  to  the  then  squire  of  Tetcott,  John 
Arscott,  buried  in  170S.  But  in  one  of  the  versions  I  have  received  the  date  is 
not  52,  but  72,  and  that  will  answer  for  John  Arscott,  who  died  in  1788,  the  last 
of  his  race. 

The  "Sons  of  the  Blue,"  it  is  supposed,  were  Sir  John  Molesworth,  William 
Morshead,  of  Blisland,  and  Bradden  Clode,  of  Skisdom, — so  the  annotations  to  the 
printed  version  by  Luke,  of  Plymouth.  But  neither  Sir  J.  Molesworth  nor  Mr. 
Morshead  were,  as  it  happens,  naval  men,  so  that  the  identification  is  not  satis- 
factory. Now,  if  the  date  be  1652,  it  is  right  as  far  as  Sir  J.  Molesworth  of  that 
time  is  concerned,  for  he  was  Vice-Admiral  of  Cornwall,  and  Pencarrow  is  the 
Molesworth  place.  John  Arscott  is  still  believed  to  hunt  the  country,  and  there 
are  men  alive  who  declare  they  have  heard  his  horn,  and  seen  him  and  his  hounds 
go  by  in  the  park  at  Tetcott. 

The  author  of  the  song  is  said  to  have  been  one  Dogget,  who  used  to  run 
after  Arscott's  fox  hounds  on  foot.  If  so,  then  he  probably  followed  the  habit  of 
all  rural  bards  of  using  for  his  purpose  an  earlier  ballad,  and  spoiling  and  vulgar- 
ising it ;  such  poets  are  incapable  of  originating  anything.  I  think  this  because 
along  with  much  wretched  stuff  there  are  traces  of  something  better,  and  smacking 
of  an  earlier  period.  As  Dogget's  doggerel  has  been  printed,  and  I  have  taken 
down  from  ten  to  twelve  versions  all  widely  differing,  I  have  not  considered  it 
worth  preserving  except  only  where  there  are  pre-Doggetian  verses,  incorporated 
by  him  into  his  copy  ;  and  I  have  ventured  to  recast  the  conclusion.  The  tune 
vas  obtained  through  the  assistance  of  Mr.  J.  Richards,  schoolmaster  at  Tetcott. 
The  same  tune  is  found  in  Wales  to  the  words  "  Difurwch  gwyr  Dyfl  "  (E.  Jones' 
Musical  Relicks  of  the  W^elsh  Bards,  1794,  I.,  p.  129). 

It — or  rather  half  of  the  tune — was  introduced  by  D'Urfey  into  his  "  Pills  to 
purge  Malancholy,"  to  the  words  "  Dear  Catholic  Brother  "  (Ed.  1719-20,  Vol.  VI., 
p.  277).  From  D'Urfey  it  passed  into  the  "Musical  Miscellany"  (1731,  Vol.  VI., 
p.  171),  to  the  words  "  Come,  take  up  your  Burden,  ye  Dogs,  and  away."  D'Urfey 
was  a  Devonshire  Man,  and  he  probably  picked  up  the  tune  when  a  boy  in  the 
West,  and  used  as  much  of  it  as  he  wanted  to  set  to  his  song.  The  air  is  much 
older  than  the  age  of  D'Urfey ;  it  probably  belongs  to  an  early  stock  common 
to  the  Celts  of  Wales  and  Cornwall.  A  very  fine  variant  from  J.  Benney, 
Menheniot. 


And  sing  Fol-de-rol, 


III.  "  Upon  a  Sunday  Morning."  The  melody  taken  down  from  old  Robert 
Hard,  a  crippled  stone-breaker,  at  South  Brent.  He  sang  to  the  air  the  words  of 
Charles  Swan, 

'  'Twas  on  a  Sunday  morning,  before  the  bells  did  pcnl, 
A  note  came  throujjh  the  window,  witb  Cupid  on  the  seal,"  &;, 


XIV. 

Tliese  words  were  set  to  music  by  Francis  Mori,  in  1853.  The  character  of 
Mori's  melody  is  distinct  from  that  of  old  Hard,  the  opening  strains  alone  being 
alike  in  both.  In  tlic;  first  edition  we  printed  Swan's  words,  not  knowing  whose 
they  were.  Hard  obtained  them  indirectly  from  a  broadside  by  Catnach,  of  Seven 
Dials.   Having  since  discovered  their  origin,  I  have  written  fresh  words  to  Hard's  melody. 

IV.  "The  Trees  they  are  so  high."  Words  and  air  taken  in  1888  from 
James  Parsons  and  Matllicw  BaJcer,  a  cripple  on  Lew  Down.  The  same  ballad 
to  the  same  melody  obtained  in  1891  from  Richard  Broad,  aged  71,  at  Ilerodsfoot, 
near  S.  Keyne,  Cornwall.  Some  verses  completing  the  ballad  we  have,  since 
the  publication  of  the  first  edition,  obtained  from  Roger  Hanaford,  of  Lower 
Widdicombe,  but  his  melody  was  not  the  same;  it  was  less  archaic.  There  are 
several  versions  of  this  ballad ;  some  very  fragmentary,  by  Catnach  and  other  broad- 
side printers — a  very  fairly  complete  one  printed  in  Aberdeen  at  the  end  of  last 
century  or  beginning  of  this. 

Johnson,  in  his  "Museum"  professed  to  give  a  Scottish  version: 

"  O  Lady  Mary  Ann  looks  owre  the  Castle  wa' 
She  saw  three  bonny  boys  playing  at  the  ba' 
The  youngest  he  was  the  flower  among  them  a' ; 

My  bonny  laddie's  young,  but  he's  growing  yet." 

But  of  this  version,  only  three  of  the  verses  are  genuine,  and  they  are  inverted; 
the  rest  are  a  modern  composition. 

A  much  more  genuine  Scottish  form  is  in  Maidment's  "  North  Country 
Garland "  (Edinburgh,  1824) ;  but  it  is  an  adaptation  to  the  story  of  a  young 
Lair  of  Craigstoun.      It  begins  : 

"  Father,  said  she,  you  have  done  me  wrong. 
For  ye  have  married  me  on  a  childe  young  man, 
And  my  bonny  love  is  long 
Agrowing,  growing,  deary, 

Growing,  growing,  said  the  bonny  maid." 

But  by  far  the  truest  form  is  that  in  an  Aberdeen  broadside ;  it  will  be 
found  in  the  British  Museum,  under  Ballads  (1750 — 1840),  Scottish,  (Press  mark, 
1 871  /.).  The  Scottish  version  has  verses  not  in  the  English,  and  the  English  has 
a  verse  or  two  that  are  not  in  the  Scottish. 

I  have  also  received  an  Irish  version  as  sung  in  Co.  Clare  by  a  old  lady 
some  years  ago;  it  is  in  six  verses,  but  that  about  the  "Trees  so  High"  is  lacking. 
The  rhyme  is  more  correct  than  any  of  the  other  printed  versions  ;  the  lines  are 
in  triplets  that  rhyme.      One  verse  runs  : 

"  O  Father  dear  Father,  I'll  tell  you  what  we'll  do. 
We'll  send  him  off  to  College  for  another  year  or  two 
And  we'll  tie  round  his  college  cap  a  ribbon  of  the  blue. 
To  let  the  maidens  know  he  is  married." 

In  one  of  the  versions  I  have  taken  down  (Hannaford's),  there  were  traces  of 
the  triplet,  very  distinct,  and  the  tune  is  akin  to  the  Irish  melody  sent  me  from  Clare. 

Again,  another  version  of  this  ballad  I  obtained  from  William  Aggett,  a 
paralysed  labourer  of  70  years,  at  Chagford,  to  an  entirely  different  melody. 
Apparently,  there  exist  two  distinct  variants  of  this  ballad,  each  to  its  peculiar 
melody. 

For  broadside  version,  see  Ballads  collected  by  Crampton,  B.M.  (1162,  h.), 
Vol.  VII.  ;  it  is  No.  63  of  Such's  Broadsides. 

In  most  versions,  the  age  of  the  boy  when  married  is  13,  and  he  is  a  father 
at  14.  I  advanced  his  age  a  little,  in  deference  to  the  opinion  of  those  who  like  to 
sing  the  song  in  a  drawing-room  or  at  a  public  concert. 

The  Scotch  have  two  airs,  one  in  Johnson's  Museum,  the  other  in  "  The 
British  Minstrel,"    Glasgow,    1844,    Vol.    II.,  p.    36,  entirely  distinct  from  ours. 

V.  "Parson  Hogg."  This  was  sung  by  my  great  uncle,  Thomas  Snow,  Esq., 
of  Franklyn  House,  near  Exeter,  when  I  was  a  child.  It  was  given  me  by  my 
cousin,  Edmund  Snow ;  it  was  also  a  song  sung  in  old  days  by  the  Winchester 
boys.      Another   version    I  obtained   from    Mr.    H.    Whitfeld,    Brushmaker,    Market 


XV. 

Alley,  Plymouth.  Tie  words  are  to  be  found,  not  quite  the  same,  but  substantially 
so,  in  "Tlie  New  Cabinet  of  Love,"  a  collection  of  songs  sung  at  Vauxhall, 
Ranelagh,  &c.,  n.d.,  but  about  1810,  as  "  Doctor  Mack."  Broadside  versions  exist 
by  Catnach,  of  Seven  Dials,  and  Bachelor,  of  Hackney  Road,  also  as  "  Doctor 
Mack."  Also  in  "  The  Universal  Songster,"  n.d.  II.,  p.  34S.  In  Oliver's  "  Comic 
Songs,"  circ.  1815,  it  is  "  Parson  Ogg,  the  Cornish  Vicar." 

VI.  "Cold  blows  the  Wind."  The  words  originally  reached  us  as  taken 
down  by  Mrs.  Gibbons,  daughter  of  the  late  Sir  W.  L.  Trelawney,  Bart.,  from 
an  old  woman,  Elizabeth  Doidge,  who  was,  sixty  years  ago,  in  the  service  of 
her  father.  The  Doidge  family  belongs  to  the  neighbourhood  of  Brentnor.  She 
sang  it  to  the  air  given  subsequently,  No.  33,  to  "  Childe  the  Hunier."  Another 
person  who  sang  this  song  was  J.  Woodnch,  blacksmith,  Wollacot  Moor,  Thrus- 
tleton,  to  the  melody  here  given.  We  obtained  the  same  melody  from  Mr.  H. 
Westaway,  a  yeoman  at  Belstone.  At  Huckaby  Bridge,  on  Dartmoor,  we  got  the 
same  melody  from  Mary  Satcherly,  an  old  woman,  who  sang  it  to  the  ballad  of 
"  Lord  Thomas  and  the  Fair  Eleanor,"  to  which,  according  to  Chappell,  it  properly 
belongs  ("Pop.  Music  of  the  Olden  Times,"  I.,  p.  145).  It  is  the  air  "Who  list  to 
lead  a  Soldier's  Life."  In  Peek's  Edward  I.,  1593,  is  the  direction  "  Enter  a 
harper,  and  sing  to  the  tune  of  'Who  list  to  lead  a  soldier's  life,'"  &c.  In 
Delaney's  "Strange  Histories,"  1607,  is  a  song  on  the  life  and  death  of  Richard  III., 
to  be  sung  to  this  melody.  Ophelia's  song,  "  Good  Morrow,  'tis  St.  Valentine's 
Day,"  is  only  a  different  version  of  the  same. 

I  ventured  to  add  the  last  verse,  as  the  original  tune  taken  down  from  Westaway 
by  Mr.  Sheppard  was  in  the  major,  and  it  was  thought  advisable  to  have  two 
verses  in  that  key.  For  much  information  relative  to  this  ballad,  I  must  refer  the 
reader  to  Professor  Child's  "  British  Ballads,"  now  in  process  of  publication  in 
America,  where  it  is  treated  of  exhaustively. 

Also,  to  complete  the  story  of  the  ballad,  I  have  added  verses  6,  8,  and  10 
from  a  West  of  England  folk-tale,  which  probably  is  this  ballad  turned   into  prose. 

VII.  "In  my  Garden  grew  plenty  of  Thyme."  Taken  down  from  James 
Parsons.  After  the  second  verse  he  broke  away  to  "  I  sowed  the  seeds  of  love,"  a 
well-known  folk  s  ng  composed  about  1670  by  Mrs.  Fleetwood  Habergam  to  the 
air  of  "  Come,  open  the  door,  Sweet  Betty,"  and  to  that  melody  it  is  usually  sung. 
Parsons's  tune  was  distinct. 

Three  verses,  a  fragment,  as  sung  anciently  in  Scotland,  in  "  Albyn's  Anthology," 
1816,  I.,  p.  40.  Mr.  Kidson,  "Traditional  Tunes,"  1891,  p.  69,  gives  five  stanzas. 
From  Joseph  Dyer,  an  old  labourer  at  S.  Mawgan-in-Pyder,  I  took  down  six.  None 
of  these  versions  agree  except  in  the  initial  verse,  which  is  the  second  in  Mr.  Kid- 
son's  Yorkshire  version,  and  the  last  verse  of  Dyer's  agrees  with  the  last  of 
Mr.  Kidson's.     But  Dyer  had  a  stanza  found  in  no  other : — 

"  O  !  and  I  was  a  damsel  so  fair, 

But  fairer  I  wished  to  appear, 
So  I  washed  me  in  milk,  and  I  dressed  me  in  silk, 

And  put  the  sweet  Thyme  in  my  hair." 

He,  like  Parsons,  imported  portions  of  "The  Seeds  of  Love"  into  this  song. 
Dyer's  melody  was  practically  the  same  as  that  of  Parsons,  but  the  third  line  was 
different,  and  he  sang  in  common  time.  So  doubtful  am  I  what  were  the  original 
words  of  this  song,  that  I  have  thought  it  advisable  to  add  fresh  verses  after  the 
first  two  taken  from  Parsons.  For  the  Scottish  air  see  "Albyn's  Anthology  ;"  for 
the  Yorkshire  air,  Mr.  Kidson's  "  Traditional  Tunes ;"  for  the  Northumbrian,  see 
"  Northumbrian  Minstrelsy,"  1882,   p.  go.       All   these   airs   differ  from   ours. 

In  the  "Westminster  Drolleries,"   1671,  is  a  song: — 

"  Heartseas,  an  herb  that  somehow  hath  bin  seen 
In   my  love's   garden  plot  to  flourish  green, 
Is  dead,  and  withered  with  a  kind  of  woe, 
And  bitter  Rue  in  place  thereof  did  grow." 

Then  follows  a  similar  play  on  Thyme.  My  impression  is  that  Mrs.  Habergam  s 
was  a  re-writing  of  an  earlier  ballad. 


XVI. 

VIII.  "  Roving  Jack."  Taken,  words  and  melody,  from  James  Parsons  ;  again 
to  the  same  air  from  Wm.  Aggett,  an  old  crippled  labourer  at  Chagford.  An  inferior 
version  of  the  words  on  Catnach's  broadsides.  Aggett  followed  the  broadside.  In 
Catnach  the  town  is  Carlow.  Ballads,  B.M.  (1162,  h.)  Vol.  VII.  Another, 
printed  in  Edinburgh.      Ballads  (1750— 1840)  B.M.  (1871.  f.). 

IX.  "  Brixham  Town."  Words  taken  down  from  Jonas  Coaker,  of  Post  Bridge, 
on  Dartmoor,  aged  85,  and  blind.  The  melody  was  sung  to  us  by  Mr.  John  Webb, 
captain  of  a  tin  mine  hard  by,  and  was  noted  by  Mr.  Slieppard.  Another  version,  to 
the  same  melody,  was  obtained  where  the  town  was  North  Tawton.  Again,  another 
version  of  the  words  was  given  me  by  the  Hon.  and  Rev.  A.  F.  Northcote,  who 
took  it  down  in  1877  from  an  itinerant  pedlar  of  90  years  at  Buckingham. 

There  is  an  additional  verse  in  the  latter  edition, 

"  Now  there  be  creatures  three, 
As  you  may  plainly   see. 
With  music  can't  agree. 

Upon  this  earth. 
The  swine,  the  fool,  the  ass, 
And  so  we  let  it  pass. 
And  sing,  O  Lord,  thy  praise. 
Whilst  we  have  breath." 

The  words  and  tune  alike  belong  to  the  17th  century.  The  words  were  clearly 
composed  at   the  time  of  the  Puritan  regime,  1640 — 1661. 

X.  "Green  Broom."  Words  and  melody  taken  down  from  John  Woodricln 
blacksmith  ;  he  learned  both  from  his  grandmother  when  he  was  a  child.  The 
Hon.  and  Rev.  J.  S.  Northcote  sent  me  another  version  taken  down  from  an  old 
woman  at  Upton  Pyne.  Another  again  from  Mr.  James  Ellis,  of  Chaddlehanger, 
near  Tavistock,  another  from  Bruce  Tyndall,  Esq.,  of  Exmouth,  as  taken  from  a 
Devonshire  cook,  in  1839  or  1840.  This,  the  same  melody  as  that  from  Upton 
Pyne.  Woodrich's  tune  is  the  brightest,  but  the  other  the  oldest.  D'Urfey,  in 
his  "Pills  to  Purge  Melancholy,"  Ed.  1720,  Vol.  VI.,  p.  100,  gives  this  ballad 
in  14  verses,  with  a  different  conclusion.  All  the  versions  except  Woodrich's 
begin  "  There  was  an  old  man  who  lived  in  the  West."  Broadside  versions  by 
Disley  and  Such  (No.  65);  see  also  "The  Broom-man's  Garland,"  in  LXXXII. 
old  ballads  collected  by  J.  Bell,  B.M.  (11621,  c.  2).  Bell  was  librarian  to  the 
Society  of  Antiquaries,  Newcastle-on-Tyne,  1810-20.  See  also  "Northumbrian 
Minstrelsy,'    where   the   air   is  different,   and   words   also. 

XI.  "As  Johnny  walked  out."  Words  and  melody  from  James  Parsons. 
The  original  words  in  six  verses ;  these  I  have  compressed  for  the  convenience 
of  modern  singers.  The  words  with  verbal  differences  are  found  in  a  good 
many  early  collections,  set  about  1750,  to  an  air  by  "Mr.  Dunn."  It  was  first 
published  to  Dunn's  tune  in  "  Six  English  Songs  and  Dialogues  as  they  are 
performed  at  the  Public  Gardens,"  n.d.,  but  circ.  1750.  Then  in  "The  London 
Magazine"  for  September,  1754;  in  "Apollo's  Cabinet,"  Liverpool,  1757,  p.  250; 
in  "  Clio  and  Enterpe,"  Lond.,  1758,  vol.  I.,  p.  34.  But  our  melody,  of  which 
we  have  taken  down  some  four  or  live  versions,  and  one  was  taken  down  by 
Mr.  T.  S.  Cayzer,  at  Post  Bridge,  in  1849,  is  quite  different  from  Dunn's  air. 

XII.  The  Miller  and  his  Sons.  Taken  down,  words  and  music,  from 
Helmore,  miller.  South  Brent.  The  words  occur  in  the  "  Roxburgh  Collection," 
III.,  p.  681.  It  is  included  in  Bell's  "  Songs  of  the  English  Peasantry,"  p.  194,  and 
in  the  "  Northumbrian  Minstrelsy,"  Newcastle,  1S82.  In  the  North  of  England  it 
is  sung  to  the  melody  of  "The  Oxfordshire  Tragedy,"  Chappell,  p.  igi.  Our 
air  bears  no  resemblance  to  this, 

XIII.  Ormond  the  Brave.  Thisvery  interesting  ballad  was  taken  down,  words  by 
myself  and  melody  by  Mr.  Sheppard,  from  J.  Peake,  Tanner,  Liskeard;  it  was  a  song  sung 
by  his  father,  about  60  years  ago.  It  refers  to  Ormond's  landing  in  Devon  in  1714. 
Ormond  fled  to  France  in  the  first  days  of  July,  "  a  duke  without  a  duchy,"  as  Lord 
Oxford  termed  him,  when  it  was  manifest  that  the  country  was  resolved  on  having 
the    Hanoverian    Elector   as    King,    and    unwilling   to   summon   the   Chevalier    of    S. 


XVll. 

George  to  the  throne.  In  the  end  of  October  the  Duke  of  Orniond  landed  in  Devon 
at  the  head  of  a  few  men,  hoping  that  the  West  would  rise  in  the  Jacobite  cause, 
but  as  not  a  single  adherent  joined  his  standard,  he  returned  to  France.  This  song 
is  particularly  curious  as  it  is  a  Jacobite  ballad  proclamation,  in  which  Ormond,  who 
was  a  poor  creature,  is  glorified  as  though  a  hero.  From  the  same  singer  we 
derived  another  ballad  relative  to  Ormond,  recounting  his  exploits  at  Vigo  in  1703. 
The  melody  is  certainly  not  later  than  the  words,  and  is  probably  older  considerably. 
In  our  first  editions  we  gave  here  a  composition  by  Mr.  Sheppard  and  myself.  This 
we  have  withdrawn  now  for  a  genuine  West  country   ballad. 

XIV.  Fathom  the  Bowl.  Taken  down,  words  and  air,  by  the  Rev. 
H.  Fleetwood  Sheppard,  from  Robert  Hard,  of  South  Brent.  Another  version 
from  H.  Whitfeld,  Plymouth,  who  said  it  had  been  sung  by  his  grandfather.  In 
"Notes  and  Queries,"  3rd  s.,  XII.,  p.  245,  inquiry  was  made  relative  to  this  song, 
but  elicited  no  reply.  Broadside  editions  exist  by  Catnach,  Pitts,  and  Such. 
This  melody  is  also  found  in  Wales,  sung  to  "  Glan  Meddwdod  Mwyn,"  and  it 
has  the  character  of  a  harp  air.  Jones,  "  Bardic  Relicks,"  1794,  I.,  p.  149.  In 
other  parts  of  England  this  song  is  sung  to  an  entirely  different  melody. 
Broadwood  and   Lucas,    "  Sussex   Songs,"    1S90,  No.   20. 

XV.  Sweet  Nightingale.  In  "Ancient  Poems,  Ballads  and  Songs  of  the 
Peasantry  of  England,  by  Robert  Bell."  London,  1857,  the  author  says,  "  This 
curijus  ditty,  which  may  be  confidently  assigned  to  the  17th  century  .... 
we  first  heard  in  Germany,  at  Marienberg  on  the  Moselle.  The  singers  were 
four  Cornish  miners,  who  were  at  that  time,  1854,  employed  at  some  lead  mines 
near  the  town  of  Zell.  The  leader,  or  Captain,  John  Stjcker,  said  that  the 
song  was  an  established  favourite  with  the  miners  of  Cornwall  and  Devonshire, 
and  was  always  sung  on  the  pay-days  and  at  the  wakes  ;  and  that  his  grand- 
father, who  died  thirty  years  before,  at  the  age  of  a  hundred  years,  used  to 
sing  the  rong,  and  say  that  it  was  very  old.  The  tune  is  plaintive  and  original." 
Unfortunately,  Mr.  Bell  does  not  give  the  tune.  The  melody  was  first  sent  me 
by  E.  F.  Stevens,  Esq.,  of  Terrace,  St.  Ives,  who  wrote  that  the  melody  "had 
run  in  his  head  any  time  these  eight  and  thirty  years."  I  have  since  had  it 
from  a  good  many  old  men  in  Cornwall,  always  to  the  same  air.  They  say 
it  is  a  duet,  and  has  therefore  been  so  set.  Mr.  Bell  has  taken  liberties  with 
the  words  ;  the  original  I  did  not  recover  till  the  first  edition  was  out.  I  have 
traced  the  song  to  Bickerstaff 's  "  Thomas  and  Sally,"  1760,  a  ballad  opera, 
the  music  by  Dr.  Arne.  The  Cornish  melody  is,  however,  quite  distinct  from  that 
by  Arne.     The  melody  is  not  later  than  the  middle  of  last   century. 

XVI.  Widdecombe  Fair.  At  present  the  best  known  and  most  popular  of 
Devonshire  songs.  The  original  Uncle  "Tom  Cobleigh "  lived  in  a  house  near 
Yeoford  Junction.  The  names  in  the  chorus  all  belonged  to  Sticklepath.  The  tune 
and  words  first  came  to  me  from  W.  F.  Collier,  Esq.,  of  Woodtown,  Horrabridge. 
Other  versions,  slightly  varying,  then  poured  in.  A  slight  variant  has  been 
published  by  Mr.  W.  Davies,  of  Kingsbridge.  There  is  one  more  verse  in  the  original, 
which  I  have  been  forced  to  omit  from  lack  of  room.  I  obtained  on  Dartmoor 
the  same  song  to  a  different  air,  an  old  dance  tune. 

XVII.  The  Imprisoned  Lady.  W^ords  and  melody  from  James  Parsons. 
The  fullest  broadside  version,  but  very  corrupt,  is  one  published  at  Aberdeen. 
Ballads,  B.  M.  (1871,  f.,  p.  61),  another,  shorter,  by  \\Mliams,  of  Portsea.  In  both 
great  confusion  has  been  made  by  some  ignorant  poetaster  in  enlarging  and  altering, 
so  that  in  many  of  the  verses  the  rhymes  have  been  lost.  This  is  how  the  Aberdeen 
broadside  begins : — 

"  You  maidens  pretty 
In  country  and  city 
With  pity  hear 

My  mournful  tale ; 
A  maid  confounded 
In  sorrow  drownded 
And  deeply  wounded 

With  grief  and  pain,** 


XVlll. 

In  the  third  line  the  "  pity  "  has  got  misplaced,  and  "  sad  complain  "  has  beer) 
turned  into  "mournful  tale"  to  the  loss  of  rhyme.  Verse  four  has  fared  even  worse, 
it  runs,  literally  :— 

"  My  hardened  parents 
Gave  special  order 
That  I  should  be 

Close  confined  be,    (sic.) 
Within  my  chamber 
Far  from  all  ranger 
Or  lest  that  I 

Should  my  darling  sec." 

A  parody  of  it  was  written  by  Ashley,  of  Bath,  and  sung  in  "  Bombastes  Furioso," 
Rhodes'  burlesque,  in  1810  (performed  at  the  Haymarket,  August  7),  to  the  Irish  tune 
of  "  Paddy  O'Carrol."  This  appears  also  in  "  The  London  Warbler,"  3  Vols.,  n.d., 
but  about  1826,  1.,  p.  80. 

"  My  love  is  so  pretty,  so  gay  and  so  witty, 
All  in  town,  court,  and  city,  to  her  must  give  place, 
My  Lord  of  the  woolsack,  his  coachman  did  pull-back 
To  have  a  look,  full  smack,  at  her  pretty  face,"  &c. 

The  metre  was  a  favourite  one  in  former  times.  Songs  in  that  metre  were 
composed  in  the  reigns  of  Henry  VIII.  and  Elizabeth.  Others  are  found  in  Allan 
Ramsay's  "  Tea  Table  Miscellany,"  1724;  and  in  D'Urfey,  1719.  Indeed  Chaucer's 
"  Virelai  "  lacks  but  a  syllable  to  be  in  it.  A  favourite  old  English  ballad,  "Ye 
Beaux  of  Pleasure"  was  in  the  same  metre;  the  melody  was  taken  into  several  of  the 
ballad-operas,  as  "The  Lover's  Opera,"  1729,  "The  Footman,"  1732,  "The  Jovial 
Crew,"  1 731,  etc. 

Words  and  melody  are  probably  of  the  Elizabethan  age. 

XVIII.  The  Silly  Old  Man.  A  ballad  that  was  sung  by  the  late  Rev.  E. 
Luscombe,  some  five  and  forty  years  ago.  He  was  then  curate  of  Bickleigh,  and 
by  ancestry  belonged  to  a  good  old  Devonshire  family,  and  he  was  particularly  fond 
of  ancient  West  of  England  songs,  which  he  sang  in  the  truest  Devonshire  brogue. 
I  have  had  it  from  one  of  his  old  pupils,  W.  Weekes,  Esq.,  of  Willestrew,  Lamerton. 
Another  version  from  old  Suey  Stephens,  a  char-woman  at  Stowford.  Another,  as  sung 
in  1848,  by  Dr.  Reed,  of  Tiverton.  Mrs.  Mason,  in  her  "  Nursery  Rhymes  and 
Country  Songs,"  1877,  gives  a  slight  variant,  also  from   Devonshire. 

The  ballad  is  found  printed  in  Dixon's  "  Songs  of  the  English  Peasantry," 
published  for  the  Percy  Society  in  1846,  and  taken  down  by  him  from  oral 
recitation  in  Yorkshire  in  1845.  It  exists  in  a  chap-book  under  the  title  "  The 
Crafty  Farmer,"  published  in  1796.  In  Yorkshire  the  song  goes  by  the  name  of 
"Saddle  to  Rags;"  there,  and  elsewhere  in  the  North  of  England,  it  is  sung  to 
the  tune  of  "  The  Rant,"  or  "  Give  ear  to  my  frolicsome  Ditty,"  an  air  better  known 
as  "How  happy  could  I  be  with  Either."  It  has  been  published  as  a  Scottish 
song  in  Maidment's  "  Scottish  Ballads  and  Songs,"  Edinburgh,  1859.  The  tune 
to  which  this  song  is  sung  in  Devonshire  is  quite  distinct  and  independent.  The 
words  may  also  be  found  in  "A  Pedlar's  Pack  of  Ballads  and  Songs,"  Edinburgh, 
1849,  p.  126,  in  20  stanzas.  The  West  of  England  version  differs  somewhat  from 
that  current  in  Yorkshire.  The  tune  is  very  fresh  and  spirited.  There  are 
broadside  editions  by  Birt,  of  Seven   Dials,  &c. 

XIX.  The  Seasons.  Still  a  popular  song  among  the  labouring  class.  Three 
versions  of  the  air  and  words  were  taken  down,  one  at  South  Brent,  one  at 
Belstone,  and  one  at  Post  Bridge.  The  words  slightly  vary,  and  are  crude.  The 
air  is  clearly  an  old  dance  tune.  The  version  we  preferred  was  that  given  by 
J.    Potter,   of  Post    Bridge,   taken   down    by   Mr.    Sheppard. 

XX.  The  Chimney  Sweep.  Taken  down  from  J.  Helmore,  South  Brent. 
Wc  have  been  quite  unable  to  trace  this  song.  It  belongs  to  the  end  of  last 
century  or  beginning  of  this. 


XIX. 

XXI.  The  Saucy  Sailor.  Words  and  melody  taken  from  James  Parsons.  A 
broadside  with  a  different  ending  was  printed  by  Disley,  Pitts,  Such,  and  Hodges, 
also  by  Pratt,  of  Birmingham;  the  metre  also  is  not  quite  the  same,  and  the  air 
to  which  sung  in  other  parts  of  England,  I  am  informed  by  Dr.  A.  W.  Barrett, 
is  distinct  from  ours.  This  will  be  found  in  F.  Tozer's  "  Forty  Sailors'  Songs," 
Boosey  &  Co.,  No.  33.  Parson's  air  bears  a  strong  likeness  to  "When  in  Death  I 
shall  Calm  Reckxe  ""in  Moore's  "  Irish  Melodies."  He  gives  the  tune  as  "  unknown" 
as  to  its  origin,  i'nd  as  not  having  any  Irish  words  fitted  to  it.  It  is  probably  an 
English  air  carrii.  d  to  Ireland,  or  one  merely  appropriated  by  Moore,  as  he  did 
others  that  took  K'ls  fancy,  viz.,  "The  Girl  I  Left  Behind  Me,"  "My  Lodging  is 
on  the  Cold  Ground,"  "  Bobbing  Joan,"  "  Alley  Croker,"  "  The  Black  Joke,"  &c. 

XXII.  Blue  Muslin.  Taken  down,  words  and  melody,  from  John  Woodrich, 
blacksmith.  A  quaint  song  of  an  ir'dividual  character.  This  is  thought  to  require 
great  skill  in  singing  owing  to  the  reversal  of  the  stanzas,  and  is  taken  as  a  test 
whether  a  singer  is  sober  or  not.  When  he  fails  to  give  the  order  correctly,  he  is 
regarded  as  having  had  just  one  drop  too  much.  Muslin  had  been  introduced  into 
England  in  1670,  and  cork  in  1690.  Both  are  spoken  of  as  novelities,  and  muslin 
is  sung  to  the  old  form  of  the  word,  mous-el-ine. 

Miss  F.  Crossing  sent  me  another  version  taken  down  from  an  old  woman  in 
South  Devon,   in  or  about    1S50. 

1.  "  My  man  John,  wliat  can  the  matter  be  ?  " 
"  I  love  a  lady,  and  she  won't  love  me." 

"  Peace,  sir,  peace,  and  don't  despair, 
The  lady  you  love  will  be  your  only  care  : 

And  it  must  be  gold  to  win  her."^ 

2.  "  Madam,  will  you  accept  of  this  pretty  golden  ball, 
To  walk  all  in  the  garden,  or  in  my  lady's  hall  ?  " 
"  Sir,  I'll  accept  of  no  pretty  golden  ball 

To  walk  all  in  the  garden,  or  in  my  lady's  hall. 
Nor  will  I   walk,  nor  will   I  talk  with  you." 

Chorus  :     "  My  man  John,"  &c.,  as  verse  i. 

3.  "  Madam,  will  you  accept  of  a  petticoat  of  red. 
With  six  golden  flounces  around  it   out-spread  ?  " 
"  Sir  I'll  accept  of  no  petticoat,"  &c. 

4.  "  Madam,  will  you  accept  of  the  keys  of  my  heart. 
That  we  may  join  together,  and  never,  never  part  ? ' 
"Sir,  I'll  not  accept  of  the  keys,"  &c. 

5.  "  Madam,  will  you  accept  of  the  keys  of  my  chest, 

To  get  at  all  my  money,  and  to  buy  what  you  think  best?" 

"  Sir,   I  will  accept  of  tlie  keys  of  your  chest. 

To  get  at  all  your  monej',  and  to  buy  what   I  think  best ; 

And   I'll  walk,  and   I'll  talk  with  you." 

"My  man  John,  here's  a  bag  of  gold   for  you. 

For  that  which  you  have  told  me,  has  come  true, 

And  'twas  gold,  'twas  gold,  that  did  win  her." 

Another  version  comes  from  Yorkshire.  See  Halliwell,  Nursery  Rhymes, 
(4th  Ed.,  1846).  Another  to  a  different  air  from  Cheshire.  Another  again  in 
Mason's  "Nursery  Rhymes  and  Country  Songs."  Metzler,  1877,  p.  27.  Melody 
quite  different. 

XXIII.  The  Squire  and  the  Fair  Maid.  Taken  down,  words  and  music, 
from  J.  Hoskin,  labourer.  South  Brent,  also  from  James  Parsons,  John  Woodrich, 
in  fragments,  very  full  from  John  Masters,  Bradstone,  an  old  man  of  So.  Another 
very  full  from  H.  Smith,  Post  Bridge,  Dartmoor.  A  form  of  the  same,  the  same 
theme,  in  Johnson's  Museum,  1787-1803,  Vol.  IV.,  p.  410.  The  same  toned  down 
in  Lyle's  Ballads,  1827,  "I  am  too  young."  He  says,  "This  ballad  in  its  original 
dress  at  one  time  from  my  recollection  was  not  only  extremely  popular,  but  a  great 
lavourite  amongst  the  young  peasantry  in  the  West  of  Scotland.  To  suit  the 
times,  however,   we   have   been    necessitated   to   throw  out  the  intermediate  stanzas, 


XX. 

as  their  freedom  would  not   bear   transcription;   whilst   the   second    and   third   have 
been  slightly  altered  from  the  recited  copy." 

Allan  Cunningham  took  the  song  from  Johnson's  Museum  and  rewrote  it  in  his 
second  volume. 

It  has  been  necessary  to  somewliat  tone  down  a  couple  of  tlie  stanzas  for  the 
same  reason  as  that  given  by  Mr.  Lyle. 

The  Scottish  ballad  begins  : — 

"As  I  went  out  one  May  morning, 

A  May  morning  it  happened  to  be, 
Then  I  was  aware  of  a  weel  fa'rd  lass, 

Come  linking  o'er  the  lea  to  me. 
She  had  a  voice  that  was  more  clear 

Than  any  damsel's  under  the  sun, 
I  ask'd  at  her  if  she'd  marry  me  ? 

But  her  answer  it  was,  I  am  too  young,"  &c. 

I  have  not  been  able  to  find  it  in  any  collection  of  broadsides,  and  tlie  two 
versions  are  almost  certainly  variants  of  some  early  English  ballad  that  found  its 
way  on  one  side  into  Scotland,  and  on  the  other  into  Celtic  Cornwall  and  Devon. 
The  Scottish  air  is  quite  different  from  ours,  which  is  an  early  ballad  tune. 

XXIV.  The  Helston  Furry  Dance.  On  May  8th,  annually,  a  festival  is 
held  at  Helston,  in  Cornwall,  to  celebrate  the  incoming  of  spring.  Very  early 
in  the  morning  a  party  of  youths  and  maidens  goes  into  the  country,  and  returns 
dancing  through  tlie  streets  to  a  quaint  tune,  peculiar  to  the  day,  called  the 
"  Furry  Dance."  At  eight  o'clock  the  "  Hal-an-tow  "  is  sung  by  a  party  of  from 
twenty  to  thirty  men  and  boys  who  come  into  the  town  bearing  green  branches, 
with  flowers  in  their  hats,  preceded  by  a  single  drum,  on  which  a  boy  beats  the 
Furry  Dance.  They  perambulate  the  town  for  many  hours,  stopping  at  intervals  at 
some  of  the  principal  houses. 

At  one  o'clock  a  large  party  of  ladies  and  gentlemen,  in  summer  attire, — the 
ladies  decorated  with  garlands  of  flowers,  the  gentlemen  with  nosegays  and 
flowers  in  their  hats,  assemble  at  the  Town  Hall,  and  proceed  to  dance  after  the 
band,  playing  the  traditional  air.  They  first  trip  in  couples,  hand  in  hand,  during 
the  first  part  of  the  tune,  forming  a  string  of  from  thirty  to  forty  couples,  or  per- 
haps more ;  at  the  second  part  of  the  tune  the  first  gentleman  turns  with  both 
hands,  the  lady  behind  him,  and  her  partner  turns  in  like  manner  with  the  first 
lady ;  then  each  gentleman  turns  his  own  partner,  and  then  they  trip  on  as  before. 
The  other  couples,  of  course,  pair  and  turn  in  the  same  way,  and  at  the  same 
time. 

The  dancing  is  not  confined  to  the  streets,  the  house  doors  are  thrown  open' 
and  the  train  of  dancers  enter  by  the  front,  dance  through  the  house,  and  out 
at  the  back,  through  the  garden,  and  back  again.  It  is  considered  a  slight  to 
omit  a  house.  Finally  the  train  enters  the  Assembly  Room  and  there  resolves 
itself  into  an  ordinary  waltz. 

As  soon  as  the  first  party  is  finished  another  goes  through  the  same  evolu- 
tions, and  then  another,  and  so  on ;  and  it  is  not  till  late  at  night  that  the 
town   returns   to  its   peaceful  propriety. 

There  is  a  general  holiday  in  the  town  on  Flora  Day,  and  so  strictly  was 
this  formerly  adhered  to,  that  anyone  found  working  on  that  day,  was  compelled 
to  jump  across  Pengella,  a  wide  stream  that  discharges  its  waters  into  Loo  Pool. 
As  this  feat  was  almost  impracticable,  it  involved  a  sousing.  The  festival  has  by 
no  means  ceased  to  be  observed,  it  has  rather,  of  late  years,  been  revived  in 
energetic   observance.* 

The  "  Helston  Furry  Dance  "  is  a  relic  of  part  of  the  Old  English  May  Games. 
These  originally  comprised  four  entirely  distinct  parts,  ist.  The  election  and  pro- 
cession of  the  King  and  Queen  of  the  May,  who  were  called  the  Summer  King 
and  Queen.  2nd.  The  Morris  Dance,  performed  by  men  disguised,  with  swords 
in    their  hands.      3rd.  The   "  Hobby   Horse."     4th.  The   "  Robin    Hood." 

•  See  Forfar.    The  Helstone  Furry  Day,  Helston,  1803. 


XXI. 

The  first  began  with  the  dispersing  of  the  young  of  both  sexes  over  the  country 
and  through  the  woods  collecting  iiowers.  Chaucer,  in  his  "  Court  of  Love," 
says  that  early  on  May  Day,  "  Forth  goeth  all  the  court,  both  most  and  least, 
to  fetch  the  flowers  afresh."  In  the  reign  of  Henry  VIII.  the  heads  of  the 
Corporation  of  London  went  to  tlie  high  grounds  of  Kent  to  gather  the  may, 
the  King  and  his  Queen,  Catherine  of  Arragon,  coming  from  their  palace  at 
Greenwich,  to  meet  them  on  Shooter's  Hill.  This  was  called  the  Bringing  Home 
the  May.  Then  came  the  decorating  of  the  houses.  Herrick  describes  this  as 
performed  in  Devon. 

" Come,   and   coming  mark. 

How  each  field  turns  a  street,  and  each  street  a  parkj 

Made  green  and  trimmed  with  trees;  see  how 

Devotion  gives  each  house   a  bough 

Or  branch  ;  each  porch,  each  door,  ere   this 

An  ark,  a  tabernacle  is 

Made  up   of  white-thorn   neatly  interwove." 

Then  ensued  the  election  and  coronation  of  the  King  and  Queen.  This 
Spenser   describes   in   the   Shepherd's  Calendar. 

"  I  saw  a  skole  of  shepherds   outgo 

With  singing,   and   shouting,   and  jolly  cheer; 

Before  them   yode   a  lusty   tabrere. 

That  to  the  many  a  horn-pipe  play'd. 

Where  to  they  danced  each  one  with  his  maid. 

Then  to  the  greenwood  they  spreden  them  all, 

To   fetchen  home  May   with  their  musical : 

And  home  they  bring  him  in  a  royal  throne 

Crowned  as  king ;   and  his  queen  attone 

Was  lady  Flora,  on  whom  did  attend 

A  fair  flock  of  fairies  and  a  fresh  bend 

Of  lively  nymphs — O  that  I  were  there 

To  helpen  the  ladies  their  May-bush  to  bear." 

Tlie   dance   to   the    May-pole   and   round   it   then    ensued. 

2nd.  The  Morris  dance  was  a  masque.  With  this  we  need  not  now  con- 
cern ourselves.  3rd.  The  Hobby  Horse  was  a  feature  also  introduced,  and  almost 
certainly  was  a  relic  of  Odin  and  his  horse  Sleipnir.  4th.  The  Rubin  Hood 
Games  was  a  play  fully  described  in  Strutt's  novel  "  Queen  Hoo  Hall,"  it  has 
been  mixed  up  with  rapier  dancing  and  the  gambols  of  the  Hobby  Horse,  and 
is   still   performed   in    various   places  at   Christmas. 

In  the  Helston  performance  we  have  a  fragment  only  of  the  original  series 
of  pageants  ;  the  bringing  home  of  the  May  and  the  dance,  and  the  song  about 
Robin  Hood.  At  Padstow,  the  Hobby-horse  still  figures.  The  two  earliest  extant 
representations  of  the  Old  English  ]\Iay  games  are  found  in  a  Flemish  print, 
given  by  Douce  in  his  "  Illustrations  of  Shakespeare,"  and  in  Tollett's  celebrated 
painted  window,  described  in  Johnson  and  Steven's  "  Shakespeare."  The  "  Helston 
Furry  Dance"  tune  was  first  printed  in  Davies  Gilbert's  Christmas  Carols, 
and  Ed.,  1823.     His  form  is  purer  than  ours,  which  is  as  now  sung. 

XXV.  "  Biovi^  away,  ye  Mountain  Breezes."  Taken  down,  words  and  music, 
from  R.  Hard ;  melody  noted  down  by  Mr.  Sheppard.  This  very  curious  song  is 
sung  as  a  duet;  that  is  to  say,  the  first  voice  taunts  the  other,  and  the  second  replies 
to  the  taunt,  then  both  unite  in  the  chorus.  We  have  omitted  the  retort,  which 
is  simply  an  application  of  the  same  words  to  the  first  singer.  It  is  certainly  a 
very  early  composition.  One  passage  in  it  occurs  also  in  "  The  Kniglit  and  the 
Shepherd's  Daughter,"  in  Percy's  Relicks,   Child's  British  Ballads,  &c. 

"  Would  I  had  drunk  the  water  cleare 

When  I  had  diuuk  the  wine. 
Rather  than  any  shepherd's  brat 

Should  be  a  lady  of  mine, 
Would  I  had  dnmke   tl'.e  puddle  foula 

When  I  did  drink  the  ale,"  &.c. 


XXil. 


The  chorus,  or  burden,  "Blow  away,  &c.,"  occurs  also  in  the  ballad  of  "The 
Baffled  Knight,"  in  Percy.  Bell  gives  a  Northumbrian  version  of  this  ballad  of 
the  Baffled  Knight.  Air  in  "  Northumbrian  Minstrelsy."  I  obtained  a  very  full 
one  of  15  verses,— some  in  no  other  copy  I  have  seen,  from  James  Olver.  The 
chorus  to  each  verse  was ; — 

"  O  1   Blow  the  winds  of  the  morning,  0 1 
Blow  the  winds,  heigh-ho  ! 
And  clear  away  the   morning  dew, 
Blow  the  winds,  heigh-ho  1  " 

XXVI.  The  Hearty  Good  Fellow.  Taken  down,  words  and  music,  from 
Robert  Hard,  South  Brent.  Although  in  the  Roxburgh  Ballads  there  is  a  whole 
class  given  up  to  "  Hearty  Good  Fellows,"  this  ballad  does  not  occur  among 
them.  I  have,  however,  a  broadside  by  Pitts,  of  last  century,  with  it,  entitled 
"  Adventures  of  a   Penny."      The   first  verse  runs  :— 

"  Long  time  I've  travelled  the  north  country 
Seeking  for  good  company. 
Good  company  I  always  could  find. 
But  none  was  pleasing  to  my  mind, 

Sing  whack  fal  de  ral,  &c., 
I  had  one  penny." 

The   rest   is   very   much   the   same   as   our   version. 

XXVn.  The  Bonny  Bunch  of  Roses.  Of  this  we  have  taken  down  a  great 
number  of  versions.  The  melody  is  everywhere  the  same,  with  insignificant 
variations,  and  a  very  fresh  and  charming  air  it  is.  In  most  of  the  versions  the 
youth  is  Napoleon  Bonaparte,  and  wonderful  it  is  to  see  how  the  metre  is 
disregarded  in  order  to  lug  in  this  name.  That  history  does  not  agree  with 
what  is  said  in  the  song  matters  as  little  as  the  discrepancy  of  the  metre.  The 
song  is  unmistakeably  an  anti-Jacobite  production,  adapted  at  the  beginning  of 
this  century  to  Napoleon,  when  an  additional  verse  was  added  relative  to  Moscow. 
In  this  later  form  it  issued  from  Catnach's  press,  and  from  him  it  was  copied 
by  Harkness,  of  Preston  ;  Paul,  of  Spitalfields ;  Pitts,  of  Seven  Dials ;  Williams,  of 
Portsea,  &c.  In  the  broadsides  of  Williams,  and  of  Hodges  it  is  said,  "To  the 
tune  of  The  Bunch  of  Roses,  O  I  "  indicating  an  earlier  form  of  the  song.  This 
was  a  favourite  fo'castle  song  some  40  or  50  years  ago. 

XXVIII.  The  Old  Singing  Man.  The  melody  taken  down  from  William 
Huggins,  mason,  of  Lydford,  wlio  died  in  the  Cottage  Hospital  at  Tavistock,  in 
March,  i8Sg.  He  had  been  zealously  engaged  that  winter  going  about  among  his 
ancient  musical  friends  collecting  old  songs  for  me.  The  words  he  gave  were — 
"  The  little  Girl  down  the  Lane,"  and  were  of  no  merit,  and  much  more  motlern 
than  the  air  to  which  he  sang  them.  I  have  therefore  discarded  them,  and  written 
fresh  words,  and  dedicate  them  to  the  memory  of  poor  old  Will. 

XXIX.  The  Tythe  Pig.  Words  and  air  taken  down  from  R.  Hard,  South  Brent. 
It  is  also  well  known  to  the  old  miller,  J.  Helmore.  The  song  appears  as  a  broadside, 
printed  by  Disley,  Jackson,  of  Birmingham  ;  Harkness,  of  Preston  ;  Ross,  of  Newcastle ; 
Catnach,  and  others.  There  are  10  verses  in  the  original.  I  have  cut  them  down 
to  seven.      To  what   air  sung  elsewhere   I   do  not   know. 

XXX.  My  Ladye's  Coach.  This  was  sung  fifty  years  ago  by  Anne  Bickle, 
ot  Bratton  Clovelly.  The  tune,  to  other  vi'ords,  also  by  James  Parsons.  A  second 
melody  to  it,  obtained  at  South  Brent,  we  give  as  No.  70,  "  Broadbury  Gibbet." 
My  Ladye  is,  no  doubt,  Death  personified,  the  Hela  of  Norse  mythology ;  but 
locally  supposed  to  be  Lady  Howard,  daughter  and  heiress  of  Sir  John  Fitz, 
of  Fitzford,  Devon,  b.  1596,  who  is  supposed  to  travel  nightly  from  Okehampton 
Castle  to  Fitzford  Gate,  Tavistock,  in  a  coach  of  bones  preceded  by  a  phantom 
dog.  I  have  added  verses  4,  5,  and  part  of  6 ;  there  were,  however,  originally  many 
more,  but  I  have  not  been  able  to  recover  them. 

XXXI.  Jan's  Courtship.  Words  and  air  from  Mr.  R.  Rowe,  Longabrook, 
Milton  Abbott.     Another  set,  words  and  air,  but  slightly  varied,  from  W.  Crossing,  Esq., 


South  Brent ;  another,  practically  identical,  from  Mr.  Chowen,  of  Burnville,  Brentor  ;  as 
"  Poor  Bob,"  it  occurs  in  "  The  Universal  Songster,"  n.d.,  but  about  1830.  To  what 
tune  I  have  not  ascertained.  Other  tunes  to  the  same  words  have  been  sent  me.  In 
the  Roxburgh  Ballads,  VI.,  216-7,  's  what  is  probabl)'  the  earliest  form.  "  Come  hither, 
my  dutiful  son,  and  take  good  counsel  of  me."  This  was  sung  to  the  air  "  Grim  King 
of  the  Ghosts."  Another  variant  probably  is  referred  to  in  "Beggars'  Opera," 
Act  iii.,  sc.  8.  "Now,  Roger,  I'll  tell  thee,  because  thou'rt  my  son;  "  but  the  melody  is 
not  the  same  as  ours.     Our  air  is  rugged  and  early. 

XXXII.  The  Drowned  Lover.  Taken  down,  words  and  melody,  from  James 
Parsons,  air  noted  down  by  Rev.  H.  Fl.  Sheppard. 

This  is  a  very  early  song.  It  first  appears  as  "  Captain  Digby's  Farewell," 
Roxburgh  Ballads,  IV.,  p.  393,  printed  in  1671.  In  Playford's  "Choice  Ayres," 
1675,  I.,  p.  10,  it  was  set  to  music  by  Mr.  Robert  Smith.  Then  it  came  to  be  applied 
to  the  death  of  the  Earl  of  Sandwich,  after  the  action  in  Sole  Bay,  1673.  ^  black 
letter  ballad,  date  circ.  1675,  is  headed  "To  the  tune  of  the  Earl  of  Sandwich's 
Farewell."  The  original  song  consisted  of  three  verses  only ;  it  became  gradually 
enlarged  and  somewhat  altered,  and  finally  Sam  Cowell  composed  a  burlesque  song 
on  the  same  lines,  a  parody  of  the  original,  which  has  more  or  less  served  to  corrupt 
the  versions  of  the  old  song,  since  printed  on  broadsides  by  Catnach,  of  Seven  Dials, 
Harkness,  of  Preston,  and  others. 

The  black  letter  ballad  of  1673  begins  : — 

"One  morning  I  walked  by  myself  on  the  shoar 
When  the  Tempest  did  cry  and  the  waves  they  did  roar 
Yet  the  noise  of  the  Winds  and  the  Waters  was  drowud 
By  the  pitiful  cry,  and  the  sorrowful  Sound, 
Of  Ah  !  Ah  !  Ah  !  My  Love's  dead. 
There  is  not  a  bell. 
But  a  Triton's  shell. 
To  ring,  to  ring,  to  ring  my  Love's  Knell." 

"  Colonel  Digby's  Lament  "  begins  as  follows : — 

"  I'll  go  to  my  Love,  where  he  lies  in  the  Deep, 

And  in  my  Embrace,  my  dearest  shall  sleep. 

When  we  wake,  the  kind  Dolphins  together  shall  throng, 

And  in  chariots  of  shells  shall  draw  us  along. 

Ah  1  Ah  !  My  love  is  dead. 

There  was  not  a  bell,  But  a  Triton's  shell 
To  ring,  to  ring  out  his  knell." 

The  next  verse  resembles  our  third.  A  second  version  of  the  melody,  but  slightly 
varied  from  that  we  give,  from  old  Parsons,  was  sent  me  by  Mr.  H.  Whitfeld,  of 
Plymouth,  as  sung  by  his  father.  Our  melody  is  entirely  different  from  that  given 
by  Playford,  and  is  probably  the  older  air,  which  Playford  hoped  to  displace  by  the 
more  elaborate  composition  of  ]\Ir.  R.  Smith.  What  makes  this  probable  is  that  it 
is  sung  to  the  same  air,  slightly  varied,   in   Ireland. 

XXXIII.  Childe  the  Hunter.  Words  taken  from  Jonas  Coaker,  of  Post 
Bridge,  aged  82,  and  blind.  He  died  in  the  spring  of  1890.  I  am  glad  to  be  able 
to  say  that  through  some  profits  obtained  by  concerts  of  these  West  of  England 
songs,  I  was  able  to  send  the  poor  old  fellow  some  money,  that  eased  his  last 
days.  He  had  used  up  the  material  of  this  ballad,  incorporating  it  into  a  "poem" 
he  had  composed  on  Dartmoor,  and  vastly  preferred  his  own  work  to  what  was 
traditional ;  but  that  was  natural.  The  melody  given  is  that  to  which  the  Misses 
Phillips,  who  were  born  and  reared  at  Shaw,  on  Dartmoor,  informed  me  they  had 
heard  it  sung  fifty  years  ago.  It  is  the  air  we  give  an  account  of  as  having  been 
received  from  Mrs.  Gibbons  to  "  Cold  blows  the  wind,"  No.  6.  It  is  unquestionably 
an  early  harp  tune,  not  later  than  the  reign  of  Henry  VII.  For  the  story  of  Childe 
of  Plymstock,  sec  Murray's  "  Handbook  of  Devon,"  Ed.  1S87,  p.  208  ;  more  fully 
and  critically,  W.  Crossing's  "  Ancient  Crosses  of  Dartmoor,"   1SS7,  p.  51. 


XXIV. 

XXXIV.  The  Cottage  Thatched  with  Straw.  Taken,  words  and  melody, 
from  John  Watts,  quanyman,  Alder,  Thi  ushletoii.  This  is  one  of  the  best  known, 
and  next  to  "  Widdeconibe  Fair,"  most  favourite  songs  of  the  Devon  peasantry. 
Sung  also  by  one  or  two  old  men  at  Looe,  Cornwall.  So  far  we  have  not  been 
able  to  trace  either  words  or  melody,  though  neither  can  be  earlier  than  the 
beginning  of  this  century. 

XXXV.  Cicely  Sweet.  Words  and  air  from  J.  S.  Ilurrell,  Esq.,  Kingsbridge. 
who  had  learned  both  50  years  ago  from  Mr.  A.  lialoran,  a  Devonshire  schoolmaster. 
It  has  been  published  already,  as  "  Sylvia  Sweet,"  in  Dale's  "  Collection,"  circ. 
1790,  with  two  additional  verses.  Two  verses  are  given  by  Halliwell  as  a  traditional 
nursery  rhyme,  in  his  Nursery  Rhymes,  4th  Ed.,  1846,  p.  223. 

XXXVI.  "  A  Sweet  Pretty  Maiden."  Melody  taken  down  from  James  Parsons 
by  Mr.  Sheppard.  The  words  of  his  ballad  were  very  interesting  and  poetical,  the  story 
similar  to  that  of  the  Scottish  ballad  "  Our  young  lady's  a  hunting  gone,"  in  Johnson's 
"  Musical  Museum,"  1787,  V.,  p.  437.  Unfortunately,  it  deals  with  a  topic  not 
advisable  to  be  sung  about  in  the  drawing-room.  We  have,  therefore,  set  to  it 
another  song,  on  the  same  theme  as  "Oh  for  a  Husband"  in  D'Urfey's  "Pills  to 
Purge  Melancholy,"  Ed.   1719,  p.  56. 

XXXVII.  The  Green  Cockade.  Words  and  melody  from  Edmund  Fry, 
thatcher,  Lydford,  but  a  native  of  Lezant,  Cornwall.  The  words  of  this  ballad 
are  sometimes  mixed  up  with  those  of  another  that  begins  "  It  was  one  summer 
morning,  as  I  went  o'er  the  grass,"  printed  as  broadside  by  Keys,  of  Devonport,  and 
given  by  Bell  in  his  "  Ballads  of  the   English   Peasantry,"  p.  230. 

In  the  "Duke  of  Gordon's  Garland,"  in  a  collection  of  Stray  Garlands,  B.M* 
(11621,  a.  6)  is  an  Irish  form  of  the  ballad.     It  is  there  "  The  Blue  Cockade." 

"  So  now  my  love  you've  changed 
From  the  Orange  to  the  Blue." 

XXXVIII.  The  Sailor's  Farewell.  Words  and  music  taken  from  J.  Ilelmore, 
South  Brent.  A  broadside  version  by  Williams,  of  Portsea.  We  have  given  first 
the  traditional  song  to  its  air  unaltered,  and  then  an  arrangement  as  a  sceiia,  as 
we  obtained  it  from  another  singer  in  dialogue  form. 

This  song  in  full,  but  m  bad  metre  and  rhyme,  will  be  found  in  a  broadside 
by  Wright,  of  Birmingham,  entitled  "  Lovely  Nancy,"  date  circ.  1830. 

"  Adieu,  my  lovely  Nancy,  ten  thousand  times  adieu, 
I'm  going  to  cross  the  ocean  to  seek  for  somethiag  new 
Come,  change  your  ring,  my  dear,  with  me. 
As  that  will  be  a  token  when  I  am  on  the  sea. 

"  When  I  am  on  the  sea,  my  love,  you  know  not  where  I  am, 
But  letters  I  will  write  to  you  all  from  a  foreign  land, 
With  the  secrets  of  my  mind,  my  dear,  and  the  best  of  my  good  will, 
And  let  my  body  be  where  it  may,  my  heart  is  with  you  still,"  &c.,  &Ct 

This  is  in   a  collection  of  Ballads  printed  in   Birmingham   B.M.  (1876,  e.,  2). 

XXXIX.  The  Forsaken  Maiden.  Words  and  melody  from  James  Parsons, 
r,oted  by  Mr.  Sheppard.  In  our  opinion,  a  very  delicately  beautiful  song;  tune 
probably  of  i6th  century.     Again  heard  at  Chagford. 

XL.      The  Blue  Kerchief.      Words  and  air  from  John   Woodrich,    blacksmith. 

The   words    have    appeared    with    slight  variations    on    broadsides,   in   ten   verses — 

Catnach,   Such,   Ross,  of  Newcastle,  &c.  Catnach  published  a  parody  on  it,  "  The 

Bonny    Blue    Jacket."      In   Dr.  Barrett's  "  English   Folk  Songs,"  the  air   is    set   to 
"  Paul  Jones." 


XXV. 

XLI.  "An  Evening  so  Clear."  Music  from  poor  Will  Huggins.  His  word? 
were  ;— 

"  One  evening  so  clear,  in  the  meadows  did  pass, 
Her  eye  full  of  tear,  a  beautiful  lass. 
The  age  she  did  bear,  it  was  scarcely  sixteen, 
She  around  her  did  wear,  a  girdle  of  green. 
Her  lips  as  the  rubies,  and  sparkled  her  ej'es, 
As  diamonds  precious,  or  stars  in  the  skies. 
The  meadows  along,  she  sang  as  a  dove, 
And  all  her  sad  song,  was  concerning  her  love." 

The  ballad  was  long  and  uninteresting.  Moreover,  it  is  found  "  As  down  in 
the  Meadows  I  chanced  to  pass,  &c.,"  in  the  "Musical  Miscellany,"  1729,  I.  62, 
and  Allan  Ramsay's  "Tea  Table  Miscellany,"  1724,  and  in  "The  Merry  Musician," 
II.,  129.  It  goes  by  the  name  of  "  Susan's  Complaint,"  see  Chappell,  p.  648.  Our 
air  is  quite  distinct,  and  as  "  Susan's  Complaint  "  is  a  melody  associated  for  near 
two  hundred  years  with  these  words,  I  have  thought  it  best  to  write  a  fresh  copy 
of  verses  to  go  to  Will  Huggins'  tune.  "  Susan's  Complaint  "  may  also  be  found 
in  a  Collection  of  Garlands  in  the  British  Museum,  press  mark,  11,621,  c.  4, 
Vol.  II.,  No.  74.  Curiously  enough,  Huggins'  version  was  more  correct  in  rhyme; 
also  from  J.  Peakc,  List  card. 

XLII.  The  Warson  Hunt.  Words  and  melody  taken  down  from  James 
Parsons,  Edmund  Fry,  Richard  Home,  a  miller,  and  others.  A  song  well- 
known  in  the  neighbourhood  of  Lew  Trenchard.  Of  Squire  Arthur  Kelly,  of 
Kelly,  whose  hounds  were  in  this  memorable  run,  an  epigram  was  made  by 
a  carpenter  in  Milton  Abbott,  on  the  death  of  the  squire  in  1S23. 

''  Here  lies  my  old  Tom  Cat,  I  tell'y, 
He  died,  same  day  as  did  Squire  Kelly. 
One  hunted  hares,  the  t'other  rats; 
Squires  they  must  die  as  well  as  cats." 

XLIII.  The  Green  Bushes.  Words  and  melody  taken  down  from  Robert 
Hard,  South  Brent.  Again  to  another  air  from  James  Parsons.  Mr.  Crossing 
sent  me  the  same  words  to  the  same  air  as  sung  by  Parsons,  heard  by  him  on 
Dartmoor,    from   a   labouring  man,    in    i86g. 

In  Buckstone's  play  of  "  The  Green  Bushes,"  1S45,  Nelly  O'Neil  sings 
snatches  of  this  song,  one  verse  "  I'll  buy  you  fine  petticoats,  &c.,"  in  Act  I., 
and  that  and  the  following  verse  in  Act  III.  Nowhere  is  the  complete  ballad 
given.  That,  however,  owing  to  the  popularity  of  the  drama,  was  published  soon 
after  as  a  "popular  Irish  ballad  sung  by  Mrs.  FitzWilliam,  in  the  drama  of  'Green 
Bushes.' "  Later,  it  was  attributed  to  the  husband  of  that  lady,  Mr.  E.  F. 
FitzWilliam ;  but  it  was  not  published  as  by  him  in  his  lifetime.  That  Buckstone 
believed  it  to  be  an  Irish  melody  is  likely  enough,  but  a  good  many  of  the  so- 
called  Irish  melodies,  to  English  words,  are  English  that  have  been  carried  to 
Ireland  by  the  soldiers  quartered  there.  Thus,  the  old  EngHsh  "  Packington's 
Pound"  has  been  converted  into  "The  wearing  of  the  Green,"  and  called  an  Irish 
air.  The  words  are  substantially  old,  in  this  form  are  a  softening  down  of  an 
earlier  ballad  which  has  its  analogue  in  Scotland,  "  My  daddie  is  a  cankered  carle," 
each  verse  of  which  ends : — 

•'  For  he's  low  down,  he's  in  the  broom 
That's  waiting  on  me." 

This  is  in  Grier's  Musical  Cyclopedia,  Glasgow,  1S35.  The  English  form  is 
•' Whitsun  Monday,"  an  early  copy  of  which  is  to  be  found  in  one  of  the 
collections  in  the  British  Museum,  date  about  1760.     Each  verse  ends: — 


"  And  'tis  low  down  in  the  broom 
She's  waiting  there  for  me." 


and  the  last  verse  ends : — 


"  My  dear,  said  she. 
So   farewell  to  the  bonny  broom," 


XXVI. 

This  is  an  undesirable  form  of  the  ballad.  Broadsides  by  Such  and  Disley,  the 
latter  different  from  Buckstone's.  In  a  collection  of  early  ballad  books  in  the 
British  Museum  is  "The  Lady's  Evening  Book  of  Pleasure,"  printed  in  Cow  Lane, 
n.d.,  but  about  1760.     This  contains  a  ballad  that  begins  thus:  — 

"  As  I   was  a  walking  one  morning  in  May, 
I  hoard   a  young  damsel  to  sigh  and  to  say. 
My  love  is  gone  from  me,  and  showed    me  foul  play, 
It  was  down  in  the  meadow,  among  the  green  hay." 

Again,  another — a  north  country  form  very  distinct  —is  found  in  Broadside  Ballads. 

As  I  walked  through  the  meads,  one  morning  in  May, 
Delighted  to  see  the  young  lambkins  at  play. 
Among  the  Green  Bushes  I   met  a  sweet  maid, 
I  saluted  (her)  kindly,  and  to  her  I  said, — 

I'll  give  you  fine  jewels,  and  I'll  give  you  fine  rings 
Witti  diamonds  so  costly,  and  many  fine  things 
With  gowns  and  silk  petticoats  flounced  to  the  knee, 
"  I'll  leave  father  and  mother  to  marry  with  thee. 

"  My  father's  a  shepherd,  he  keeps  sheep  on  yon(der)  hill, 

And  you  may  go  to  him  and  ask  his  good  will ;  " 

In  truth  I  will,  lassie,  I'll  go  instantly. 

All  among  those  Green  Bushes  my  Jenny  meets  me. 

Good  morning,  old   man,  you  are  tending  your  flock. 
Will  you  give  me  a  ewe-lamb  to  breed  me  a  stock  ? 
"Indeed  will  I,  laddie,  there  up  on  the  lea." 
And  among  the  Green   Bushes  my  Jenny  meets  me. 

"  O !  "  says  the    father,  "  you  have  me  beguiled, 

For  little  I  thought  it  was  my  dear  child; 

But,  since  it  is  so,  even  so  let  it  be." 

And  among  the  Green  Bushes  my  Jenny  meets  me. 

To  church  then  they  went,  without  any  delay. 
Unto  her  fond  lover  she  would  not  say  Nay, 
And  he  oftentimes  sings  as  she  sits  on  his  knee 
Among  the  Green  Bushes  my  Jenny  meets  (met)  me  I 

This  was  published  by  Hodges,  of  Seven   Dials.     Ballads,   B.M.  (1875,  b.  19). 

Dr.  Joyce,  in  his  "Ancient  Irish  Music,"  1873,  gives  the  genuine  Irish  air  to 
the  "  Green  Bushes,"  as  sung  by  the  peasantry,  not  the  same. 

As  I  do  not  think  the  "Green  Bushes"  can  be  by  Buckstone,  nor  the  melody 
Irish,  I  have  admitted  it  into  this  collection. 

XLIV.  The  Broken  Token.  Words  and  melody  from  Robert  Hard,  South 
Brent ;  noted  by  Kev.  H.  Fl.  Sheppard  from  his  singing.  Broadside  variant  by 
Such,  as  "The  Brisk  Young  Sailor,"  or  as  "Fair  Plioebe,"  as  "The  Dark-eyed 
Sailor,"  by  Wheeler,  of  Manchester,  and  as  "  The  Sailor's  Return,"  by  Catnach. 

Dibdin  composed  a  song  on  the  same  theme,  and  called  it  "  The  Broken 
Gold."  The  Catnach  ballad,  to  an  entirely  distinct  air,  I  obtained  from  Harry 
Smith  at  Two  Bridges.     The  broadsides  are  very  rude  and  corrupt. 

The  same  air  was  noted  down  by  Mr.  S.  Reay,  about  1830-5,  from  a  ballad  singer 
in  the  market,  at  Durham.  He  has  most  kindly  sent  it  me.  The  differences  are 
slight.     The  air  is  known  throughout  Cornwall. 

XLV.  "The  Rout  is  Out."  Words  and  melody  taken  down  from  John  Woodrich. 

I  have  a  broadside  by  Bloomer,  of  Birmingham,  circ.  1780,  entitled  "  Lancashire 
Lads,"  that  is  certainly  a  rude  version  of  the  same  original.  Instead  of  his  dressing  her 
in  "velvet  red,  and  wrangling  her  hair  in  blue,"  he  "  is  clothed  in  scarlet  and  turned  up 
with  blue."  The  air  cannot  have  been  the  same.  There  is  no  chorus  of  "  Adieu  my 
boys,  &c." 


xxvu. 

XLVI.  "Why  should  we  be  dullards  sad?"  Words  and  air  from 
Edmund  Fry,  Will  Huggins,  and  James  Olver,  of  Launceston,  who  learned  it  in 
1828,  when  apprenticed  to  a  tanner  at  Liskeard,  from  one  George  Brooks,  the 
foreman  in  the  tanyard,  a  native  of  Grampouiid,  in  Cornwall.  In  1760,  or  there- 
about, Isaac  Bickerstaff  wrote  a  song  to  this  melody  for  one  of  his  ballad  operas. 
It  is  found  as  a  copper-plate  engraved  sheet  song,  "The  Social  Powers,"  about 
1765;  then  in  "Calliope,"  Lond.,  17SS,  p.  278. 

XLVII.  May  Day  Carol.  Melody  noted  down  a  good  many  years  ago  by 
J.  S.  Cayzer,  Esq.;  was  sung,  till  of  late  years,  in  my  neighbourhood,  where  a  bunch  of 
flowers  at  the  end  of  a  stick  is  carried  about  by  children.  The  history  of  this  carol  is 
curious.  It  was  customary  in  England,  as  it  is  still  in  Tyrol  and  in  Swabia,  for  a  lover 
on  May  morning  to  take  a  green  bough  to  the  house  of  the  beloved.  If  she  opens  the 
door  and  takes  it  in,  it  is  a  token  of  acceptance.  At  the  Puritan  epoch,  this 
custom  was  altered,  and  the  song  was  converted  into  a  carol  with  a  good  deal  of 
pious  sentiment  added  on,  and  it  was  given  to  children  to  sing.  Thus  the  original 
significance  was  completely  lost.  See  "  Notes  and  Queries,"  3rd  Series,  IX.,  p.  380; 
also  Hone's  "Every  Day  Book,"  I.,  p.  567;  Chambers'  "  Book  of  Days,"  I.,  p.  578. 
Herrick  refers  to  the  custom  of  youths  bringing  their  May  bushes  to  the  maids  of 
their   choice,  when  he  says : 

"  A  deale  of  youth  ere  this  is  come 
Back,  and  with  white  thorn  laden  home. 
Some  have  dispatched  their  cakes  and  creanii 
Before  that  we  have  left  to  dream." 

In  "The  Bath  Musical  Garland,"  n.d.,  but  about  1745  (B.M.  1162,  c.  i., 
No.  29),  is  a  "  Pleasant  Dialogue  betwixt  two  lovers,  in  which  the  lady  presents 
a  bunch  of  May  and  some  Thyme  to  her  discontented  lover."     He  says: 

"  Your  riddle  I  can  Read 


This  Iilay  was  took  in  Time, 

Grant  that  in  Time  I  May 

Gain  your  Love  and  sweet  contentment.' 

The  melody  is  a  very  early  one,  and  is  much  like  that  of  the  carol : 

"  The  moon  shines  bright,  the  stars  give  light 
A  Uttle  before  the  day," 

still  sung  in  Cornwall,  and  known  also  in  Sussex.     Broadwood  and  Lucas,  "  Sussex 
Songs,"  i8go. 

XLVIII.  Nancy.  Taken  down  from  William  Friend,  of  Lydford,  James 
Parsons,  and  Robert  Hard.  All  had  the  same  melody  somewhat  varied.  As  taken 
from  their  sinj/ing,  it  had  an  archaic   character: 


Mr.  Sheppard,  who  did  not  take  down  the  tune,  considers  this  form  to  be  due 
to  the  way  in  which  the  men  sang  the  air,  and  he  has  restored  it  to  what  he 
conceives  to  be  the  correct  form.  The  words  occur  in  a  collection  of  forty  early 
ballad  books  in  the  British  Museum,  in  Book  11.,  "The  Lover's  Jubilee,"  date  end 
of  17th  or  beginning  of  the  i8th   century. 

XLIX.  Lullaby.  Noted  by  me  from  recollection  as  sung  by  a  nurse,  Anne 
Bickle,  of  Bratton  Clovelly,  about  50  years  ago.  The  tune  known  also  to  James 
Olver,  of  Launceston.     The  words  I  have  recomposed   to    the  best    of   my  ability — 


XXVIU. 

partly  from  recollection.  "  Hush-a-by  baby  on  the  tree  top  "  was  also  sung  to  this 
tune.  The  air  cannot  be  older  than  the  end  of  last  century.  We  have  treated  it 
in  modern   fashion. 

L.  The  Gipsy  Countess.  The  melody  of  the  first  part  from  James 
Parsons,  as  well  as  the  words,  the  second  melody  from  John  Woodrich.  Three 
more  verses  in   the  original   I   have  been   unable  to  admit  for  lack  of  room. 

The  Scottish  ballad  of  "Johnny  Faa "  first  appeared  in  Allan  Ramsay's  "Tea 
Table  Miscellany,'  1724,  from  which  it  was  taken  into  Herd's  and  Pinkerton's  Col- 
lections, Johnson's  Museum,  and  Ritson's  Scottish  Songs.  All  these  turn  on  a  story 
— utterly  unhistorical — that  Lady  Jean  Hamilton,  married  to  the  grim  Covenanter, 
John,  Earl  of  Cassilis,  fell  in  love  with,  and  eloped  with.  Sir  John  Faa,  of 
Dunbar,  who  came  to  her  castle  disguised  as  a  gipsy  along  with  some  others. 
She  was  pursued,  and  Faa  and  his  companions  where  hung.  I  venture  to  suggest 
that  the  Jacobites  took  an  earlier  ballad  of  a  gipsy  girl  married  to  an  Earl,  and 
adapted  it  to  serve  as  a  libel  on  Lady  Cassilis,  who  was  the  mother  of  Bishop 
Burnet's  wife.  Such  things  were  done— ballads  were  utilised  for  political  purposes, 
and  D'Urfey  did  the  same.  If  this  be  so,  then  the  existence  of  the  earlier  part 
of  the  ballad,  and  the  variation  in  our  second  part  of  "Johnny  Faa"  is  explained. 
Versions  also  from  Peter  Cherton,  shoemaker,  Oakford,  near  Tiverton  ;  William 
Setter  and  George  Kerswell,  Two  Bridges,  Dartmoor.  But  some  of  these  are 
taken  from  the  broadsides  which  are  reproductions  of  "Johnny  Faa."  Mr.  Robert 
Browning  composed  on  this  theme  his  poem  "  The  Flight  of  the  Duchess,"  having 
heard  a  beggar  woman  sing  the  ballad.  Mrs.  Gibbons  tells  me  that  as  she  re- 
members tlie  ballad  as  sung  by  her  nurse  sixty  years  ago,  it  was  the  story  of 
the  girl  going  back  to  her  brothers.  For  a  very  full  account  of  the  "Johnny  Faa" 
ballad  see  Child's  "  English  and  Scottish  Ballads,"  No.  200.  He  is  of  opinion 
that  the  English  ballad  of  the  gipsies  who  carried  off  the  lady  is  derived  from 
the  Scottish.  I  have  no  doubt  that  our  broadside  versions  are  so,  but  in  my 
opinion— whatever  it  be  worth — the  Scottish  are  a  re-shaping  for  political  purposes 
of  an  earlier  ballad,  of  which  our  Devonshire  Gipsy  Countess  is  a  no  doubt  corrupted 
version.  In  Parsons'  ballad  there  was  no  division  into  parts.  We  have  separated 
the  parts  so  as  to  give  both  melodies. 

LI.  The  Grey  Mare.  The  melody  and  a  fragment  of  the  song  taken  down 
by  Mr.  ShepparJ  trom  J.  Hoskin,  South  Brent.  Again  from  Jas.  Olver.  Neither 
knew  the  song  in  its  complete  form,  only  a  verse  or  a  few  lines  here  and  there.  I 
have,  therefore,  had  to  reconstruct  it.  A  broadside  version  by  Such  to  a  metre 
that  will  not  fit  the  air  as  sung  in  the  West.     See  Kidson,  Trad.  Tunes,  p.  78. 

LII.  The  Wreck  off  Scilly.  Words  and  Melody  from  James  Parsons.  It 
properly  consists  of  seven  verses.     Broadside  by  Catnach,  which  ends: — 

•'  'Tis  Polly  love  you  must  lament 
For  the  loss  of  your  sweetheart, 
'Tis  the  raging  seas,  the  stormy  winds, 
Caused  you  and  me  to  part." 

But  this  seems  nonsense.  The  singer  does  come  home,  and  is  not  lost.  I  have 
ventured  to  give  a  different  conclusion  to  the  song,  having  been  told  by  a  friend 
that  he  heard  this  ballad  sung  in  Cornwall  by  a  mendicant  sailor.  The  air  belongs 
to  the   Dibdin   era. 

LI II.  Henry  Martyn.  Words  and  melody  from  Roger  Luxton,  Halwell. 
This  air  noted  down  by  Mr.  Sheppard.  Again  from  Matthew  Baker,  a  cripple  on 
Lew  Down.  Again  from  J.  Masters,  Bradstone.  Again  from  a  shepherd  on 
Dartmoor.  The  versions  of  words  somewhat  varied,  but  the  melody  was  always 
the  same.  In  one  the  ship  had  the  Lifeguards  on  Ijoard,  in  another  the  King's 
Mariners.  In  one  Henry  Martyn  received  his  death  wound,  in  another  it  is 
the  King's  ship  which  is  sunk  by  the  Pirate.  Professor  Child,  editing  "  The 
British  Ballads,"  informs  me  that  he  has  heard  a  version  sung  in  the  U.S.A. 
by  an  immigrant,  and  he  called  the  pirate  Andrew  Bawbee.  The  real  name 
was   Andrew    Barton.      In    1476,    a   Portuguese   squadron  seized   a  richly-laden  ship 


XXIX. 

commanded  by  John  Barton,  in  consequence  of  which  letters  of  reprisal  were  granted 
by  James  IV.  to  the  three  sons,  Andrew,  Robert,  and  John,  and  these  were  renewed 
in  1506.  Hall,  in  his  chronicle  under  151 1,  says  that  the  king  (Henry  VHI.)  being  in 
Leicester,  tidings  reached  him  that  Andrew  Barton  so  stopped  the  king's  ports,  that  the 
merchant  vessels  could  not  pass  out,  and  he  seized  their  goods  pretending  that  they 
were  Portuguese.  Sir  Edward  Howard,  Lord  High  Admiral,  and  Sir  Thomas 
Howard  were  sent  against  him.  Their  two  ships  were  separated,  but  a  fight  ensued  in 
which  Andrew  was  wounded,  and  his  vessel,  the  Lion,  was  taken.  He  died  of  his 
wounds.     Buchanan,  twenty  years  later,  tells  the  story  also. 

There  is  a  long  ballad  of  Sir  Andrew  Barton,  in  Percy  and  elsewhere,  quite 
different.  That  in  Percy  is  the  ballad  as  recompcsed  in  the  reign  of  James  L, 
when  there  was  a  perfect  rage  for  re-writing  the  old  historical  ballads.  Un- 
happily, as  these  new  compositions  were  printed,  and  the  old  were  not,  they 
have  been  preserved  to  the  loss  of  the  far  finer  early  ballads.  There  the  Scotch 
have  the  advantage  of  us.  What  the  original  form  of  this  ballad  was  it  is  hard  to 
say,  as  it  has  become  sadly  altered  in  process  of  handing  down  through  three 
hundred  and  fifty  years.  It  does  not  appear  in  print,  that  I  am  aware  of, 
before  1820-30,  on  a  broadside,  and  that  is  in  a  very  corrupt  form.  It  is  easy  to 
see  how  Andrew  pronounced  Andree  Barton,  yet  altered  into  Henry  Martyn.  The 
air  is  probably  of  Henry  VIII. 's  reign.  See  in  reference  to  Sir  Andrew  Barton, 
Child's  "English  and  Scottish  Ballads."     New  Ed.,  No.  167. 

LIV.  Plymouth  Sound.  Melody  taken  down  from  Roger  Luxton,  to  a  song  of 
this  name.  The  original  words  were  not  only  very  poor,  but  somewhat  coarse.  There 
are  three  songs  that  go  by  the  title  of  "  Plymouth  Sound."  Broadsides  by  Keys  of 
Devonport  and  Such.     The  air  cannot  be  earlier  than  the  beginning  of  this  century. 

LV.  Farewell  to  Kingsbridge.  Taken  down,  words  and  air  from  Roger 
Huggins,  mason,  Lydford,  who  learned  them  in  1S68,  from  a  man  called  Kelly,  in 
Tavistock.  There  are  old  men  in  Kingsbridge  who  can  recall  when  soldiers  were 
stationed  there.  The  song  belongs  to  the  year  1778-80.  It  exists  as  a  broadside 
by  Such,  but  without  naming  Kingsbridge,  so  that  probably  it  was  a  song  of  the 
time  adaptable  to  other  places  as  well.  A  form  of  the  same  ballad,  beginning 
"  Honour  calls  to  arms,  boys,"  refers  to  fighting  the  French  in  North  America, 
circ.  1759,  published  in  broadside  by  Hodges. 

LVI.  Furze  Bloom.  Taken  down  from  Roger  Luxton,  01  Halwell.  The 
original  words  of  "  Gosport  Beach"  were  worthless.  Moreover,  "  Gosport  Beach" 
has  its  own  traditional  melody  to  it  elsewhere.  I  have  therefore  written  fresli 
words  to  it,  embodying  the  folk  saying  in  Devon  and  Cornwall — 

"  When  the  Furze  is  out  of  bloom, 
Tlieu  Love  is  out  of  tune." 

LVII.  The  Oxen  Ploughing.  This  song  was  well  known  throughout  Devon 
and  Cornwall  seventy  years  ago.  It  went  out  of  use  along  with  the  oxen  at  the 
plough.  We  found  every  old  singing  man  had  heard  it  in  his  boyhood,  but  none 
could  recall  more  than  snatches  of  the  tune  and  a  few  of  the  words.  We  were  for 
three  years  on  its  traces,  always  disappointed.  Those  who  recalled  the  strains  did 
not  agree  as  to  its  metre,  and  with  the  metre  the  strain  varied.  Then  we  heard 
that  there  was  an  old  man  at  Liskeard  who  could  sing  the  song  through.  Mr. 
Sheppard  and  I  hastened  thither,  to  find  that  he  had  been  speechless  for  three 
days  and  that  his  death  was  hourly  expected.  By  great  good  luck,  however,  we 
found  a  labouring  man,  Joseph  Dyer,  at  S.  Mawgan-in-Pyder  who  could  sing  the  song 
through.  We  gladly  throw  out  a  joint  production  of  Mr.  Sheppard  and  myself  that 
occupied  this  place  in  the  first  edition,  to  replace  it  with  this  genuine  old-folk  song. 

LVIII.  Something  Lacking.  From  Thomas  Dark,  labourer,  Holcombe  Burnell, 
age  74.  This  was  most  difficult  to  note,  owing  to  the  old  fellow  changing  his  key  when 
asked  to  re-sing  it  for  purpose  of  notation.      I  am  not  satisfied  that  it  is  right  now. 

LIX.  The  Simple  Ploughboy.  This  charming  ballad  was  taken  down,  words 
and  air,  from  J.  Masters,  of  Bradstone.  Mr.  Sheppard  noted  the  melody.  The  broad- 
side versions  that  were  published  by  Fortey,  Hodges,  Taylor  of  Spitalfields,  Ringham 


XXX, 


of  Lincoln,  and  Pratt  of  Birmingham,  are  all  very  corrupt.  The  version  of  old  pilasters 
is  given  exactly  as  he  sung  it,  and  it  is  but  one  instance  out  of  several  of  the  superiority 
of  the  ballads  as  handed  down  traditionally  in  the  country,  to  those  picked  up  by  the 
ballad-mongers  employed  in  towns  by  the  broadside  publishers. 

LX.  The  Wrestling  Match.  Words  and  air  taken  down  from  James  Olver  of 
Launceston,  Tanner.  He  said  that  when  he  was  a  boy  this  was  wont  to  be  sung  at 
wrestling  matches  at  Liskeard.  Such  matches  took  place  every  week  day  evening, 
from  Lady-Day  to  Michaelmas,  in  a  field,  strewn  with  tan,  outside  the  town. 

LXI.  The  Painful  Plough.  Words  and  melody  from  Roger  Huggins,  mason, 
Lydford.  The  air  noted  down  by  Mr.  Sheppard.  It  is  in  reality  a  much  longer  song, 
and  consists  of  9  or  10  stanzas.  Under  the  title  of  the  "  Ploughman's  Glory,"  it  runs 
to  25  verses.  Bell  gives  nine  verses  in  his  "  Ballads  of  the  English  Peasantry." 
It  is  found  on  broadsides.  In  the  original  it  consists  of  a  contention  between  the 
ploughman  and  the  gardener  as  to  which  exercises  the  noblest  profession.  Our 
melody,  as  I  am  informed  by  Dr.  W.  A.  Barrett,  is  not  the  same  as  that  to  which 
"The  Painful  Plough"  is  sung  in  the  j\lidlands  and  South-East  of  England.  The 
earliest  copy  of  the  words  I  know  is  in  a  volume  of  Garlands  in  the  British 
Museum  (1078,  p,  16).  There  it  occurs  as  "The  Plowman's  Glory"  in  "The 
Irish  Girl's  Garland,"  Hull,  "Printed  and  sold  in  the  Butchery"  and  consists  of 
25  stanzas.     Date,  I  suppose,  about  1779.     One  verse  runs: — 

"  Three  mighty  powers  in  Europe 
Against  us  do  advance. 
Led  by  the  crafty  notions  of 
That  restless  Fox  of  France." 

And  one  concludes  with,  "  Long  life  to  our  King,  and  confusion  to  his  foes  by 
George's  sword." 

This  is,  I  suspect,  a  re-writing  of  "  The  Farmer's  Glory,"  an  earlier  song  found 
in  "Bonny  Jockey's  Garland,"  in  a  collection  made  by  J.  Bell;  all  printed  by 
J.  White,  who  died  1769,  and  T.  Saint,  who  died  1788.     Here  are  two  verses: — 

"  The  Parson  he  doth  con  his  lesson 
And  prays  for  all  his  congregation, 
But  ttie  Devil  may  take  both  me   and  you, 
If  he  was  not  upheld  by  the  Plow. 

"  So  to  conclude  and  end  my  ditty. 
No  tradesman  that's  in  town  or  citj', 
But  what  will  say  these  hnes  be  true. 
So  let  us  sing  to  speed  the  Plow." 

As  in  the  same  garland  is  one  on  Pamela,  the  date  is  probably  about  1740-5. 

UXLII.  "  Broadbury  Gibbet."  This  tune  was  an  alternative  to  that  already 
given  (No.  30)  for  "  My  Lady's  Coach,"  and  was  taken  down  at  South  Brent  by 
Mr.  Sheppard.  As  the  melody  was  weird  and  gruesome,  and  we  had  no  other  old 
ballad  that  seemed  appropriate,  I  wrote  a  fresh  set  of  words.  The  gibbet  on  Broad- 
bury was  standing  in  1814,  and  the  beam  is  still  in  existence  in  a  barn  near  the 
spot.  One  man  was  hung  on  it  in  chains  for  an  atrocious  murder  committed  on 
two  sisters.  His  name  was  Wellon.  He  was  a  stranger  passing  by  the  house  in 
which  the  sisters  Rundle  lived.  He  asked  for  bread  and  was  given  it.  He  returned 
later  to  the  house,  murdered  them,  and  robbed  them  of  £s-  He  then  walked  to 
Ashburton,  where  over  his  cups  he  told  of  the  murder  committed  at  Bratton,  before 
the  news  had  arrived  there,  and  this  led  to  his  arrest. 

■  XLIII.  The  Orchestra.  The  melody  taken  down  from  John  Woodrich,  of 
Thrushleton.     The  words  began  : — 

"  I  went  unto  my  true  love's  house 

At  eight  o'clock  at  night. 
And  little  did  my  true  love  know, 
I  owed  her  a  despite." 

It  then  went  on  to  describe  a  singularly  brutal  murder.  The  words  exist  in  a 
broadside   by  Catnach  and   Such,  "The  Cruel    Miller."     The  earliest  form,  however, 


XXXI. 

is   in   a   broadsheet    by    Pitts,    of    Seven    Dials,    "  The    Berkshire   Tragedy,   or    the 
Wittam   Miller,"  and  this  is  in  22  verses.     It  begins  : — 

"  Young  men  and  maidens  give  ear 
Unto  what  I  shall  relate, 
O  mark  you  well,  and  you  shall  hear 

Of  my  unhappy  fate. 
Near  famous  Oxford  town, 

I  first  did  draw  my  breath,  &c." 

As  the  tune  clearly  did  not  belong  to  these  words  I  ventured  to  write  fresh 
words,  and  Mr.  Bussell  has  somewhat  developed  the  original  melody  which  was 
limited  to  four  lines. 

LXIV.  The  Golden  Vanity.  Taken  down  words  and  air  from  James  Olver, 
of  Launceston.  Melody  noted  down  by  Mr.  Bussell.  This  ballad  was  printed  as 
"  Sir  Walter  Raleigh  sailing  in  the  Lowlands,  showing  how  the  famous  ship  called 
the  Sweet  Trinity  was  taken  by  a  false  galley ;  and  how  it  was  recovered  by  the 
craft  of  a  little  sea-boy,  who  sunk  the  galley,"  by  Coles,  Wright,  Vere,  and  Gilbertson 
(1648—80).  In  this  it  is  said  to  be  sung  "to  the  tune  of  the  Lowlands  of  Holland," 
and  in  it  there  is  no  ingratitude  shown  to  the  poor  sea-boy.  In  this  version  there 
are  fourteen   verses.     It  begins: — 

"  Sir  Walter  Raleigh  has  built  a  ship 
In  the  Netherlands, 
And  it  is  called  the  Sweet  Trinity, 
And  was  taken  by  the  false  Gallaly, 
Sailing  in  the  Lowlands." 

It  has  been  reprinted  in  Ashton  :  "A  century  of  Ballads,"  p.  201.  Under  the 
form  of  "  The  Goulden  Vanity,"  it  is  given  with  an  air  (of  no  value,  and  quite 
unlike  ours),  in  Mrs.  Gordon's  Memoirs  of  Christopher  North,  1862,  ii.,  p.  317, 
as  sung  at  a  convivial  meeting  at  Lord  Robertson's  by  Mr.  P.  Fraser,  of 
Edinburgh,  before  Mr.  J.  C.  Lockhart  and  Professor  Wilson.     This  begins  : — 

"  There  was  a  gallant  ship, 
And  a  gallant  ship  was  she, 

Sik  iddle  dee,  and  the  Lowlands  low. 
And  she  was  called  the  Goulden  Vanitie, 

As  she  sailed  to  the  Lowlands  low." 

This  also  is  in  fourteen  verses.  The  broadside  version  printed  by  Such,  and 
Pitts,  of  Seven  Dials,   begins : — 

"  I  have  a  ship  in  the  North  Countrie, 
And  she  goes  by  the  name  of  the  Golden  Vanity  ; 
I'm  afraid  she  will  be  taken  by  some  Turkish  gallee, 
As  she  sails  on  the  Lowlands  low." 

This  is  in  seven  verses,  and  very  imperfect.  Verse  two  contains  five  lines, 
verse  three  only  three,  verses  four  and  si.x  have  four  lines,  verses  five  and  seven 
have  three  lines.  Consequently  it  would  not  be  possible  to  "  put  a  tune  to  it." 
Giver's  melody  is  a  very  fine  and  striking  one.  It  was  adopted  with  some  modernisa- 
tion that  spoiled  it  by  Clifton,  in  the  early  part  of  this  century,  for  his  iong  of  "  The 
Oyster  Girl."  "  Sir  Walter  Raleigh,"  says  Mr.  Ebbsworth,  in  his  introduction  to 
this  ballad  in  the  Roxburgh  Ballads  (V.,  p.  418),  "never  secured  the  popularity,  the 
natural  affection  which  was  frankly  given  to  Robert  Devereux,  the  Earl  of  Essex. 
Raleigh  was  deemed  arrogant,  selfish,  with  the  airs  of  an  upstart,  insolent  to  superiors, 
unconciliating  with  equals,  and  heartlessly  indifferent  to  those  in  a  lower  position. 
The  subject  of  the  following  ballad  is  fictitious — sheer  invention,  of  course.  The 
selfishness  and  ingratitude  displayed  by  Raleigh  agreed  with  the  current  estimate. 
He  certainly  had  a  daughter."  The  tune  to  which  "  The  Golden  Trinity  "  was  set 
in  the  broadsides  was  "  The  Sailing  in  the  Lowlands,"  and  must  therefore  be  an 
older  air  than  the  ballad.  We  obtained  the  same  ballad  at  Chagford  as  "  The 
Yellow  Golden  Tree."  Our  air  is  not  earlier  than  the  end  of  last  centurj'.  To  a 
different  tune  it  was  a  favourite  fo'castle  song  forty  or  fifty  years  ago.  We  have 
beard  this  ballad  to  the  tune  we  give  at  Mawgan-in-Pyder, 


xxxu. 

LXV.  The  Bold  Dragoon.  Words  and  melody  taken  down  by  W.  Crossing, 
Esq.,  of  South  Brent,  many  years  ago,  from  a  labouring  man  on  Dartmoor,  now 
dead.  The  words  were  very  corrupt.  1  have  taken  down  a  fuller  version  from  a 
man  at  H\ickaby  Bridge,  Dartmoor,  and  have  discovered  an  early  version,  "The 
Jolly  Trooper,"  in  "  The  Lover's  Garland,"  n.d.,  but  of  the  begmning  or  middle 
of  last  century.     It  begins : — 

"  There  was  a  Trooper  in  the  West 
And  with  riding  he  was  weary ; 
He  knocked  at,  he  rapped  at. 
And  he  asked  for  his  kiud  deary. 

•         •••«• 

She  took  the  horse  by  the  bridle  rein, 

And  led  him  to  the  stable. 
She  gave  him  corn  and  hay  to  eat. 

As  much  as  he  was  able,"  &c. 

As  in  the  original,  in  singing,  the  last  two  lines  were  repeated,  and  the  story 
was  very  lengthy,  I  have  condensed  it,  by  making  each  stanza  of  six  lines  instead 
of  four.  Moreover,  as  the  original  was  too  coarse  to  be  presentable,  I  have  recast 
it.  There  is  naught  about  a  cliimpanzee  in  the  old  ballad.  The  press  mark  in 
the  British  Museum  is  11,621,  c.  5. 

LXVI.  Trinity  Sunday.  Melody  noted  down  by  T.  S.  Cayzer,  Esq.,  in  1849, 
at  Post  Bridge,  from  a  moor  man ;  the  original  words  were  unsuitable,  a  broad- 
side  ballad   of  a    murder. 

This   is   certainly   a    fine   old   dance    tune. 

To  convert  it  into  a  three-stanza  song  instead  of  six  stanzas,  a  slight  liberty 
has  been  taken  with  the  tune;  the  music  has  been  expanded  after  line  four,  by 
the   addition   of   five   and   six;    the   original    air   ends    at    "all    the   year." 

In  connection  with  this  charmingly  fresh  air,  I  will  give  Mr.  Cayzer's  account 
of  taking  it  down  in  1849,  which  he  has  kindly  extracted  for  me  from  his  diary: — 
"This  air,  together  with  'As  Johnny  walked  out'  (No.  11),  I  got  from  Dart- 
moor; nor  shall  I  soon  forget  the  occasion.  The  scene  was  a  lonely  one  (I 
think  Two  Bridges,  but  it  may  have  been  Post  Bridge).  It  had  been  raining  all 
day.  There  was  not  a  book  in  the  house,  nor  musical  instrument  of  any  kind, 
except  two  hungry  pigs  and  a  baby  that  was  being  weaned.  Towards 
nightfall  there  dropped  in  several  miners  and  shepherds,  and  I  well  remember 
how  the  appearance  of  these  Gentiles  cheered  us.  We  soon  got  up  a  glorious 
fire — such  a  fire  as  peat  only  can  make,  and  drew  the  benches  and  settles  round. 
By  the  friendly  aid  of  sundry  quarts  of  cyder  I,  before  long,  gained  the  confi- 
dence of  the  whole  circle,  and  got  a  song  from  each  in  turn  ;  and  noted  down 
two  that  were  quite  new  to  me :  no  easy  matter,  considering  that  they  were 
performed  in  a  strange  mixture  of  double  bass  and  falsetto.  The  action  with  which 
they  accompanied  the  singing  was  extremely  appropriate.  They  always  sing 
standing." 

Many  a  similar  evening  have  Mr.  Sheppard,  Mr.  Bussell,  and  I  spent  in  like 
manner  over  the  peat  fire  with  the  burly,  red-faced  moor  men  and  shepherds, 
standing   to   sing   their  quaint  old  songs,  and  very  happy  evenings  they  have  been. 

LXVII.  The  Blue  Flame.  Melody  taken  down  by  Mr.  W.  Crossing,  from 
an  old  moor  man,  to  "  Rosemary  Lane."  Roger  Luxton  and  James  Parsons  also 
sang  "  Rosemary  Lane  "  to  the  same  air.  The  words  are  objectionable.  Moreover, 
in  other  parts  of  England,  this  broadside  song  is  always  sung  to  one  particular  air. 
We  therefore  thought  it  well  to  put  to  our  melody  entirely  fresh  words. 

It  is,  or  was,  a  common  belief  in  the  West  of  England,  that  a  soul  after  death 
appears  as  a  blue  flame ;  and  that  a  flame  comes  from  the  churchyard  to  the  house 
of  one  doomed  to  die,  and  hovers  on  the  doorstep  till  the  death-doomed  expires, 
•when  the  soul  of  the  deceased  is  seen  returning  with  the  other  flame,  also  as  a 
flame,  to   the  churchyard, 


XXXlll. 

LXVIII.  Strawberry  Fair.  Melody  taken  down  from  Jas.  Masters,  of 
Bradstone,  by  Mr.  Sheppard.  The  ballad  is  a  recast  of  "  Kytt  hath  lost  her  key," 
given  by  Dr.  Rimbault  in  his  "  Little  Book  of  Songs  and  Ballads  gathered  from 
Ancient  Music  Books,"  1851,  p.  49;  but  this  was  a  parody  in  1561  of  "Kit 
hath  lost  her  keye  (cow)."  The  song  was  certainly  early,  but  unsuitable ;  and 
I  have  been  constrained  to  re-write  it.  The  old  air  was  used,  in  or  about  1835, 
by  Beuler,  a  comic  song  writer,  for  his  "  The  Devil  and  the  Hackney  Coachman," 

"  Ben  was  a  Hackney  Coachman  rare, 
Jarvey  !  Jarvey  ! — Here  I  am,  your  honour." 

Beuler  composed  the  words  of  a  good  number  of  songs,  and  set  nearly  all  tc 
old  airs.  Thus  he  wrote  "  The  Steam  Coach  "  to  "  Bonnets  of  Blue,"  "  Don  Giovanni " 
to  the  air  of  "Billy  Taylor,"  "the  Sentimer,tal  Costermonger "  to  "Fly  from  the 
World,"  "Honesty  is  the  best  Policy"  to  the  old  melody  of  "  The  Good  Dajs  of 
Adam  and  Eve,"  "  Ireland's  the  nation  of  Civilization "  to  the  tune  of  "  Paddy 
O'Carrol,"  and  "  The  Nervous  Family  "  to  "  We're  a  Nodding." 

The  same  thing  was  done  by  Hudson,  and  a  score  of  comic  song  writers. 
They  took  good  old  tunes  and  set  them  to  vulgar  words,  which  were,  in  some  cases, 
no  doubt  an  improvement,  for  vulgar  words  are  better  than  those  which  are  obscene. 
That  "  Strawberry  Fair  "  is  a  genuine  old  melody  I  have  no  doubt.  The  ballad 
is  sung  everywhere  in  Cornwall  and  Devon  to  the  same  melody.  The  words  are 
certainly  not  later  than  the  age  of  Charles  11.,  and  are  probably  older.  They  turn 
on  a  double  entindre  which  is  quite  lost — and  fortunately  so — to  half  the  old  fellows 
who  sing  the  song.  It  seems  to  me  impossible  to  believe  that  the  air  should  have 
become  dissociated  from  Beuler's  words  and  attached  to  very  early  words  of  the 
peculiar  metre  required.  I  have  never  found  a  singer  who  had  any  knowledge  of 
"  The  Devil  and  the  Hackney  Coachman,"  but  all  have  heard  "  Strawberry  Fair," 
and  some  men  of  70-80  say  they  learned  it  of  their  fathers.  The  earliest  date  of 
Jacob  Beuler's  song  is  1834,  and  if  what  the  old  singers  tell  me  is  true,  ther 
certainly  Beuler  adopted  a  tune  taken  from  a  folk  ballad,  and  did  not  contribute  a 
tune  to  folk  melody. 

LXIX.  The  Country  Farmer's  Son.  Taken  down  by  Rev.  H.  Fleetwood 
Sheppard  from  John  Woolrich  (not  Woodrich),  labourer,  Broadwood  Widger.  The 
original  ballad,  "  The  Constant  Farmer's  Son,"  is  found  in  a  broadside  by  Ross, 
of  Newcastle.     It  is  a  good,  robust  tune  of  the  end  of  last  century. 

LXX.  The  Hostess'  Daughter.  Taken  down  by  Mr.  Sheppard  from 
J.  Masters,  of  Bradstone.  The  frankness  and  rudeness  of  the  original  words 
demanded  modification  before  the  song  was  fitted  for  the  drawing  room. 

LXXI.  The  Jolly  Goss-hawk.  Melody  taken  down  by  Mr.  Sheppard  from 
H.  Westaway,  yeoman,  of  Belstone.  The  tune  is  set  to  a  nonsense  counting-song 
for  children,  and  is  then  called  "The  Nawden  Song."     This  begins: — 

"  I  went  to  my  ladye  the  first  of  May 
A  Jolly  goss  hawk  and  his  wings  were  grey. 
Come  let  us  see  who'll  win  this  fair  ladye — you  or  me." 

To  the  2nd  of  May  is  a  "  two-twitty  bird,"  then  "a  dushy  cock,"  a  "four- 
legged  pig,"  "five  steers,"  "six  boars,"  "  seven  cows  calving,"  "  eight  bulls  roaring," 
"  nine  cocks  crowing,"  "  ten  carpenters  yawing,"  "  eleven  shepherds  sawing,"  "twelve 
old  women  scolding."  A  Scottish  version  in  Chambers'  "  Popular  Rhymes  of 
Scotland,"  1842,  as  "The  Yule  Days."  A  Northumbrian  version,  "The  XII.  days 
of  Christmas,"  with  air,  not  like  ours,  in  "Northumbrian  Minstrelsy." 


xxxiv. 

A  version  of  this  is  the  "  Gousper  ou  ar  Ranad  "  (the  Frogs'  Vespers)  sung 
by  the  peasants  of  Brittany.  "  Cliansons  Populaires  de  la  Basse  Bretagne,"  par 
Luzel,  iSgo,  p.  94.  Tlie  West  of  England  song  has  got  mixed  up  with  the  "  Goss 
Hawk,"  another  song.  The  same  melody  did  for  bolli,  but  one  was  a  nursery  song 
and  the  other  was  not.  A  rather  corrupt  form  of  the  "  Goss  Hawk  "  is  to  be  found 
in  "  The  Fond  Mother's  Garland,"  in  a  collection  of  early  Garlands  in  the 
B.  Museum  (11,621,  c.  5). 

LXXn.  "  Fair  Girl  Mind  This !  "  Taken,  words  and  melody,  from  James 
Parsons.  He  learned  this  from  his  father  70  years  ago.  His  father  once  sar.g  it 
at  a  tavern  in  Plymouth,  whither  he  had  driven  some  cattle  for  the  farmer  for 
whom  he  worked.  Next  morning  the  landlady  came  to  him  and  said,  "  Zing  me 
thicky  (that)  zong  again,  now  do'y,  and  you  shall  pay  naught  for  your  bed  and 
board."  So  old  Parsons  sang  the  song.  "  Zing  it  me  again,"  said  the  landlady. 
When  he  had  so  done  she  said,  "  There  now,  take  what  you  can  carry  away  in 
eaten'  and  drinken,'  and  welcome,  and  mind  this,  never  you  come  to  Plymouth 
again  without  coming  here,  and  never  you  come  here  wi'out  zinging  thicky  zong 
to  me — as  long  as  I  be  alive." 

I  have  discovered  this  song  in  "  The  Contented  Wife's  Garland,"  date  about 
1730.  It  is  in  a  collection  of  early  garlands  that  belonged  to  Mr.  Halliwell,  and  \vas 
acquired  in  1832  by  the  British  Museum.  It  is  there  as  sung  by  the  wife,  not  tlie 
man,  and  instead  of  coffee  she  gets  him  chocolate.  The  order  of  the  verses  is 
different,  but  the  number  is  the  same.  It  begins  with  our  second  verse,  and  the 
moral  which  in  Parson's  version  comes  first,  is  thrown  in  the  Garland  to  the  end. 
The  melody  is  probably  the  original ;    it  fits  the  words  admirably. 

LXXIII.  On  a  May  Morning  so  Early.  This  melody  belongs  to  the 
song  or  ballad  "  I'm  Seventeen  on  Sunday,"  which  is  known  elsewhere  than  in 
Devon  and  Cornwall.  The  air  was  taken  down  by  Mr.  Sheppard,  from  Roger 
Huggins,  at  Lydford.  Taken  down  again  by  Mr.  Bussell,  from  William  Bickle,  of 
Bridestowe.  Bickle  sang  it  to  the  broadside  ballad,  "  Seventeen  on  Sunday,"  but 
Huggins'  words,  as  far  as  they  went,  were  earlier  and  better.  The  original  ballad  was 
altered  by  Burns  to  the  "  Wakeriffe  Mammy,"  which  he  re-wrote  for  Johnson's 
Museum,  IV.,  p.  410  ;  and  Allan  Cunningham  arranged  a  song  on  this  topic,  as  the 
original  was  objectionable.  Lyle  gives  it  in  his  "  Ballads,"  1827,  saying:  "This 
ballad,  in  its  original  dress  at  one  time,  from  my  recollection,  was  not  only  extremely 
popular,  but  a  great  favourite  among  the  young  peasantry  of  the  West  of  Scotland. 
To  suit  the  times,  however,  we  have  been  necessitated  to  throw  out  the  intermediate 
stanzas,  as  their  freedom  would  not  bear  transcription,  whilst  the  2nd  and  3rd  have 
been  slightly  altered  from  the  recited  copy."  An  Irish  version  (re-written)  to  the 
Irish  air,  in  Joyce:  "Ancient  Irish  Music,"  1S73,  No.  17.  He  says:  "I  cannot 
tell  when  I  learned  the  air  and  words  of  this  song,  for  I  have  known  them  as 
long  as  my  memory  can  reach  back.  For  several  reasons  [the  original  words]  could 
not  be  presented  to  the  reader."  It  was  not  possible  for  us  either  to  give  the 
ballad  in  its  original  form.     Mr.  Sheppard  re-wrote  it. 

LXXIV.  The  Spotted  Cow.  Words  and  air  from  James  Parsons,  J.  Helmore, 
H.  Smith,  and  from  John  Woodrich,  Thrushleton,  noted  down  by  Mr.  Sheppard. 
The  earliest  version  of  the  words  is  found  in  a  Garland  of  last  century,  printed 
by  Angus,  of  Newcastle.  Brit.  Mus.  Garlands  (11,621,  c.  4),  Vol.  II.,  No.  53. 
There  are  several  later  broadside  versions  by  Disley,  Such,  Dodds,  of  Newcastle, 
Keys,  of  Devonport,  &c.  As  sung,  it  consists  of  four  lines,  and  the  two  last 
are  repeated.  To  avoid  monotony,  and  to  curtail  the  ballad,  I  have  made  each 
stanza  to  consist  of  six  lines.  The  air  to  which  sung  everywhere  in  Devon  is 
different.  Dr.  W.  A.  Barrett  informs  me,  from  that  to  which  sung  elsewhere.  About 
1760,  Dr.  Berg  set  the  same  song  to  a  recast  in  Scotch  form  of  the  words,  so  as 
to  transform  it  into  a  Scottish  song  :  "  As  Jamie  gang'd  blithe  his  way,  along  the 
Banks  of  Tweed,"  &c.,  and  so  it  was  sung  at  Ranelagh.  "  The  Bulfinch,"  n.d., 
P-  159- 


XXXV. 

LXXV.  Cupid,  the  Plough  Boy.  Words  and  music  taken  down  from 
J.  Watts,  Alder  quarry,  Thrushlcton.  He  sang  of  "  Cubick,  the  Plougli-boy,"  and 
made  Cubick  marry  the  damsel  in  the  end.  Broadside  versions,  very  corrupt,  by 
Catnach,  Fortey,  &c.  The  earliest  copy  is  "  Cupid,  the  Pretty  Plough-boy,"  a  new 
song;"  no  date  or  place,  but  about  the  latter  half  of  last  century  in  the  B.M. 
(1S75,  b.  19).  This  ballad  is,  I  believe,  a  mere  recomposition  of  "  Cupid's 
Triumph,"  a  black  letter  ballad,  circ.  1670,  Roxburgh  Ballads,  IV.,  p.  13 ;  but 
this  is  a  sequel  to  another  piece,  "Cupid's  Courtesy."  The  air  was  a  Saraband. 
Perhaps  that  given  by  Chappell,  p.  497.      Barrett's  "  English  Folk  Songs,"  No.  16, 

TXXVL  "Come  my  Lads,  let  us  be  Jolly."  Words  and  melody  from  Tames 
Olver,  of  Launceston,  and  Kdmund  Fry,  of  Lydford.  Olver  acquired  it  at  Liskeanl, 
in  1828,  along  with  "  Why  should  we  be  dullards  sad  ?  "  from  G.  Brooks,  of 
Grampound.  Fry  had  the  melody  incomplete.  Olver  knew  the  whole  of  it.  Barrett's 
"  English  Folk  Songs,"  No.  6,  as  "Sheep-sheering  Song;"  we  have  never  so  heard 
it  used.  W'e  have  heard  it  sung  also  by  a  hind,  J.  Hockin,  Menheniot,  Cornwall, 
with  no  reference  to  a  sheep-sheering.  We  have  taken  down  a  notable  variant  from 
Samuel  Gilbert,  Landlord  of  the  Falcon,  aged  81,  at  Mawgan-iii-Pyder  In  that 
the  chorus  runs  : — 

"  Let  union  be  with  all  its  fun. 
And  we  will  join  all  hearts  in  one. 
And  we'll  go  through  as  we've  begun, 
Since  it  'j  our  holiday." 

In  this  also  no  reference  to  a  sheep-.' .leering.      Also   the   air   of  this  chorus  differed 
from  ours,  as  well  as  from  that  given  by  Dr.  Barrett.      Mr.  Gilljert's  ran  tlius: — 


Let   urion  be,  with  all  its  fun,  Since  it    is  our  hoi  •  i- day. 


The  verse  was  the  same  as  our  chorus,  in  common  time. 

LXXVII.  Poor  old  Horse.  Words  and  melody  taken  from  Matthew  Baker 
Lew  Down,  the  melody  noted  by  Mr.  Sheppard.  This  song  is  given  in  Bell's  "  Ballads 
of  the  English  Peasantry,"  p.  184,  as  sung  by  the  mummers  in  the  neighbourhood 
of  Richmond,  Yorkshire.  He  says  :  "  The  rustic  actor  who  sings  the  song  is  dressed 
as  an  old  horse,  and  at  the  end  of  every  verse  the  jaws  are  snapped  in  chorus. 
It  is  a  very  old  composition,  and  is  now  (circ.  1864)  printed  for  the  first  time." 
This  is  not  so — it  exists  as  a  broadside,  printed  by  Hodges,  of  Seven  Dials,  and 
by  Such.  Our  tune,  which  has  not  any  merit,  is  not  the  same  as  that  to  which  it 
is  sung  in  the  Midlands  and  Sussex.  I  differ  from  Mr.  Bell  as  to  the  age  of  the 
song.  I  do  not  fancy  it  older  than  the  latter  half  of  last  century.  The  Midland 
air  and  form  of  the  song  in  Mason's  "  Nursery  Rhymes  and   Country  Songs,"  1877. 

LXXVIII.  The  Dilly  Song.  A  great  number  of  versions  of  this  song  have 
been  taken  down,  and  a  good  many  were  sent  to  the  pages  of  the  Weiteyn  Morning 
News,  in  1888,  from  various  parts  of  Cornwall  and  Devon.  This  is  known  through- 
out Cornwall,  and  is,  indeed,  still  sung  in  the  cliapels.  When  a  party  of  amateurs 
performed  some  of  these  "Songs  of  the  West"  in  Cornwall,  1S90,  the  Dilly  Song 
always  provoked  laughter  among  the  good  folk  at  the  back  of  the  halls;  this 
puzzled  the  performers,  till  they  enquired  into  the  reason  of  the  lau;_;hter,  and 
learned  that  folk  laughed  because  it  was  their  familiar  chapel  hymn.  In  the  text 
I  have  given  the  version  of  the  words  with  least  of  the  religious  element  in  them. 
Here  are  some  of  the  other  versions. 

2.  Is  God's  own  Son,  or  Christ's  natures,  but,  in  a  Horrabridge  version  two 
are  the  strangers  o'er  the  wide  world  rangers :  another,  "  the  lily  white  maids " 
not  "babes." 

3.  The   strangers  are    probably   the    Three    Wise    Men.      In  a  Cornish    version 
"  Three  is  all  eternity."     In  another,  "  Three  is  the  Thrivcrs." 


XXXVl. 


4.  "  The  Gospel  Preachers ;  "  at  S.  Austell,  "  The  Evangelists." 

5.  "  Five   is   the    Ferryman  in  the  Boat  "  ;  at  Horrabridge,    "  The  Dillybird  ;  " 
another,  "  The  Nimble  Waiters." 

6.  "  The  Cherubim  Watchers,"  "  The  Crucifix,"  "  The  Cherry-bird  Waiters."  In 
an  American  version  "  The  Ploughboys  under  the  Bowl,"  "  The  Cheerful  Waiters." 

7.  "The  Crown  of  Heaven,"  see  Rev.  i.,  16,  but  more  likely  the  Pleiades,  "The 
Seven  Stars  in  the  Sky." 

8.  "The  Great  Archangel,"  "The  Archangels ;"  at  Horrabridge,  "Eight  is  the 
daybreak." 

9.  "Nine  are  the  Nine  Delights,"  i.e.,  the  Joys  of  Mary.  "The  Moonshine, 
bright  and  fine,"  "  The  Pale  Moonshine."     "  The  nine  that  so  bright  do  shine." 

10.  "  The  Commandments."    "  Begin  again." 

11.  "The  Eleven  Disciples."     "They  who  go  to  Heaven." 

There  are  very  similar  verses  in  German  and  Flemish.  The  Flemish  version  in 
Coussemaker :  "  Chants  populaires  des  Flamands,"  with  three  variants  of  the  air, 
which  is  a  corruption  of  "  Adeste  fideles."  The  Scottish  version  in  Chambers 
"  Popular  Rhymes  of  Scotland,"  1842,  p.  50.  Dilly,  as  applied  to  the  song,  the 
hour,  the  bird,  is  probably  the  Festal  Song,  &c.  (Welsh  dillyn,  pretty,  gay,  pi.  dillynion, 
fineries,  jewels.) 

Sir  Arthur  Sullivan  has  introduced  a  song  of  the  same  character  into  his 
"Yeoman  of  the  Guard,"  but  the  melody  is  not  quite  the  same  as  ours. 

The  air  to  which  the  Dilly  Song  is  sung  in  Somersetshire  is  similar  to  ours, 
and  is,  in  fact,  an  artistic  canon. 

This  song  is  very  familiar  throughout  Brittany,  as  "Gousperou  Kerne,"  Les 
Vfepres  de  Cornouaille. 

"  Dis  moi  ce  que  c'est  qu'un  ? 
Un  Dieu,  sans  plus,  qui  est  au  ciel. 
Qu'est-ce  que  c'est  que  deux? 
Deux  testaments. 

Les  trois  Personnes  de  la  Trinite, 
Quatre  evangelistes,"  &c. 

"  Chansons  populaires  de  la  Bretagne,"  par  Luzel,  1890,  p.  88.  Also 
M.  Villemarque  gives  two  rude  melodies  (Barz-Breiz,  1846,  Nos.  I.  &  VHI.)  to 
which  it  is  sung  by  the  Bretons.  There  was  a  Mediaeval  Latin  form  of  the 
song  which  began  "  Unus  est  Deus."  A  Hebrew  form  as  one  for  instructing 
children  in  truths,  is  printed  in  Mendez :  "Service  for  the  First  Night  of  the 
Passover,"  London,  1862.  It  begins:  "Who  knoweth  one?  one  is  God  who  is 
over  heaven  and  earth."     The  numbers  go  up  to  thirteen. 

"  Thirteen  divine  attributes,  twelve  tribes,  eleven  stars,  ten  commandments, 
nine  months  preceding  childbirth,  eight  days  preceding  circumcision,  seven  days 
of  the  week,  six  books  of  the  Mischna,  fine  books  of  the  law,  four  matrons,  three 
patriarchs,  two  tables  of  the  Covenant,  but  one  is  God  alone,  &c. 

A  Moravian  form  in  Wenzig :    Slawischer   Miirchenschatz,  1857,  p.  295. 

LXXIX.  The  Mallard.  A  country  dance  tune,  so  called  because  of  some  silly 
words  that  go  to  it  relative  to  the  gobbling  up  of  a  Mallard.     They  begin  :— 

"  Oh  what  have  I  ate,  and  what  have  I  ate  ? 
I  have  eaten  the  toe  of  a  Mallard, 

Toe  and  toe,  nevins  and  all, 
And  I  have  been  to  biliary  allerj'. 
And  so  good  meat  was  the  Mallard." 

I  have  written  fresh  words  to  the  tune,  which  is  an  excellent  example  01  an 
early  dance  tune,  as  the  words  do  not  belong  properly  to  the  tune.  We  have  had 
the  same  sung  in  Dartmoor,  and  in  Cornwall  to  entirely  different  melodies.  It  was 
taken  from    J.  Masters,  of   Bradstone.      This    also  is  a  song,  like  the  last,  and  hke 


xxxvii. 

The  Everlasting  Circle  (No.  104),  and  like  the  Nawden  Song  (No.  71),  common  to 
the  Cornish  and  the  peasants  of  Brittany.  The  Breton  version  is  "  Dispennais  ar 
Voualc'h  "  (Depecer  le  merle),  given  in  "  Chants  Populaires  de  la  Basse  Bretagne," 
par  Luzel,  p.  80. 

LXXX.  Constant  Johnny.  Words  and  melody  taken  down  from  Roger 
Luxtsn,  of  Halwell,  the  melody  noted  by  Mr.  Sheppard.  It  has  heja  arranged  by 
Mr.  Sheppard  as  perhaps  originally  set,  in  duet  form,  such  lovers'  duets  being  a  common 
feature  in  folk  song.  Ravenscroft  gives  one  in  broad  Devonshire  in  his  "  Brief 
Discourse,"  1614,  entitled  "Hodge  Trellindle  and  his  Zweethart  Malkyn."  Our 
duet  seems  to  be  based  on  "  Doubtful  Robin  or  Constant  Nanny,"  printed  as  a 
"new  ballad,"  in  or  about  1680,  in  black  letter;  it  is  given  in  the  4th  Vol.  of  the 
Roxburgh  Ballads.  The  tune  to  that  is  "  Would  you  be  a  Man  of  Fashion,"  or 
"  The  Doubting  Virgin." 

LXXXI.  The  Duke's  Hunt.  Words  and  melody  taken  down  from  James 
Olver,  Launceston.  I  have  heard  another  version  at  Stoke  Gabriel,  near  Dartmouth; 
another  at  S.  Mary  Tavy,  another  at  Menheniot.  This  is  a  mere  cento  from  a  long 
bLilad,  entitled  "  The  Fox  Chase,"  narrating  a  hunt  by  Villiers,  Duke  of  Buckingham, 
in  the  reign  of  James  I.  Reprinted  in  Hindley's  "  Roxburgh  Ballads,"  I.,  p.  453.  It 
was  originally  printed  by  W.  Oury,  circ.  1650,  but  probably  there  was  an  earlier 
edition,  not  now  extant.  The  air,  noted  down  by  Mr.  Bussell,  is  very  bright  and 
pleasant.  None  is  indicated  in  the  heading  of  the  ballad  in  1650,  which  is  merely 
headed,  "To  an  excellent  tune,  much  in  request."  It  consists  of  eijhteen  verses. 
The  dogs  in  this  early  and  original  version  are  Dido,  Spanker,  Ruler,  Bonny  Lass, 
Caper,  Countess,  Comely,  Famous,  Thumper,  and  Cryer.  In  it  the  dog  who  never 
looks  behind  him  is  Ruler. 

The  ballad  begins: — 

"  All  in  a  morning  fair. 

As  I  rode  to  take  the  air, 
I  heard  some  to  halloo  most  clearly; 

I  drew  myself  near 

To  listen  who  they  were. 
That  were  going  a  hunting  so  early. 

I  saw  there  were  some  gentlemen. 

Who  belonged  to  the  Duke  of  Buckingham,"  6k., 

This  hunting  ballad  also  occurs  in  "  A  Collection  of  Forty  Early  Ballad  and 
Song  Books,"  in  the  British  Museum,  in  the  20th  book  of  that  collection.  "  The 
Vauxhall  Concert,"  with  a  print  of  William  and  Mary  on  the  title  page.  Also  on  a 
broadside  "Dido  and  Spandigo."  Ballads  collected  by  Crampton,  B.M.  (11,621  h.). 
Vol.  VIII. 

LXXXII.  The  Bell  Ringing.  Words  and  air  from  William  George  Kerswell, 
a  moorland  farmer,  an  old  man,  near  Two  Bridges,  in  the  heart  of  Dartmoor. 
Broadwood  Widger,  Ashwater,  and  North  Lew  are  small  villages  situated  near 
Broadbury  Down,  the  highest  land  between  Dartmoor  and  the  Atlantic.  When 
sung  by  the  old  farmer  over  a  great  fire  in  the  kitchen,  his  clear,  robust  voice 
imitating  the  bells,  produced  an  indescribable  charm. 

LXXXIII.  A  Nutting  we  will  Go.  Taken  down  from  J.  Garrard,  aged  68, 
and  nearly  blind,  a  labouring  man,  illiterate,  Cullyton,  near  Chagford.  He  knew, 
however,  only  the  melody  of  the  chorus,  the  complete  tune  was  taken  down  by 
Mr.  Sheppard,  from  Robert  Hard,  labourer.  South  Brent,  who  sang  to  it  a  ballad 
called  "Jack  of  all  Trades."  The  same  tune  to  tlie  "  nutting  "  song  at  Menhenoit.  The 
same  also  by  James  Parsons.  Bunting,  in  his  "  Irish  Melodies,"  1840,  gives  the  same 
tune  to  a  fragment  of  the  same  words,  and  says  he  took  it  down  in  1792  from  Duncan, 
a  harper.  Duncan  remembered  half  or  a  good  portion  of  a  tune  he  had  heard,  perhaps 
from  English  soldiers,  and  eked  it  out  with  some  other  tune.  Then  came  S.  Lover,  and 
he  took  this  air  from  Bunting,  and  wrote  "  The  Lowbacked  Car  "  to  it.  But  the 
original  melody  is  found,  not  only  in  Cornwall  and  Devon,  but  also  in  the  North, 
and  Mr.  Kidson  gives  it  in  his  "Trad.  Tunes"  as  "With  Henry  Hunt  we'll  go," 
a  song  sung  in  Manchester  in  connection    with    the   arrest    of  Hunt    in    1819.     The 


XXXVUl. 

air  was  then  adapted  to  this  song  from  "  The  Battle  of  Waterloo."  When  we  find  the 
same  words  to  the  same  air  in  Ireland  and  in  Cornwall,  and  in  the  North  of  England 
as  well,  we  may  well  believe  that  our  tunc  belonged  originally  to  •'  A  Nutting  we  wiU 
Go."  It  is  probable',  therefore,  that  the  air  we  give  is  more  genuine  than  "  The  Low- 
backed  Car  "  which  has  become  popular,  and  its  inartistic  quality  and  incongruities 
have  been  forgiven.  There  is  a  broadside  version,  "  The  Nut  Girl,"  printed  by 
Fortey,  Ryle,  &c.  See  Ballads  collected  by  Crampton,  B.M.  (11,621,  h.),  Vol.  I., 
and  (1S75,  b.  19);  but  these  are  both  without  the  chorus.  The  printed  broadside 
has  lost  somewhat.     For  instance,  Gerrard's 


has  become 


"  His  voice  rang  out  so  clear  and  stout 
It  made  the  horse-bells  ring," 


"  His  voice  was  so  melodious 
It  made  the  valleys  ring." 

Cut  the   broadside  is  longer,  it   consists  of  fourteen  verses.     Neither   can    be   given 
untoned  down,  to  make  the  song  tolerable  for  polite  ears. 
A  still  earlier  broadside  version,  by  Pitts,  with  chorus. 

LXXXIV.  Down  by  a  River-side.  Taken  down  by  Mr.  Shcppard  from 
the  singing  of  Jas.  Townsend,  Holne.  It  was  a  song  of  his  grandfather's,  who  was 
parish  clerk  at    Holne  for  fifty  years,  and  died  in  1883,  over  eighty  years  old. 

LXXXV.  The  Barley  Rakings.  Taken  down  from  Roger  Hannaford,  of 
Lower  Widdecombe,  Dartmoor,  by  Mr.  Sheppard.  The  words  exist  in  broadside 
versions,  by  Such,  Bingham,  of  Lincoln,  Robertson,  of  Wigton,  &c.  Such's 
version  consist  of  six  verses,  the  others  of  four.  Hannaford's  verses,  2  and  3, 
were  unlike  those  of  Bingham  and  Robertson,  but  resembled  3  and  4  of  Such.  He 
had  not  2  and  6  of  Such,  and  his  lines  and  rhymes  were  not  identical  with  the 
London  version.  Moreover,  he  had  a  curious  line  in  verse  2  :  "  They  had  a  mind 
to  style  and  play  "  (the  Anglo-Saxon  styllan,  to  leap  or  dance),  not  found  in  the 
printed  copies.  As  none  of  these  versions  would  be  tolerable  in  the  drawing-room, 
Mr.  Sheppard  has  modified  the  words  considerably.  The  melody  to  which  "  Barley 
Rakings"  is  sung  in  other  parts  of  England  is  wholly  different,  ours  is  probably 
an  early  dance  tune. 

LXXXVI.  Deep  in  Love.  This  very  curious  song  was  obtained  by  the  late 
Rev.  S.  M.  Walker,  of  Saint  Enoder,  Cornwall,  from  an  old  man  in  his  parish. 
Miss  Octavia  L.  Hoare  sent  it  me  as  preserved  by  Mr.  Walker.  Wc  have 
obtained  the  same  song  from  Mary  Sacherley,  aged  75,  perfectly  illiterate,  at 
Huckaby  Bridge,  Dartmoor.  Mary  Sacherley  is  daughter  of  an  old  singing  moor 
man,  \\\\o  was  a  cripple,  on  Dartmoor.  She  possesses  the  unique  distinction  of 
having  a  house  that  was  built  and  inhabited  in  one  day.  The  circumstances  are 
these  :  Her  husband's  father  had  collected  granite  boulders  to  erect  a  cottage  on  a 
bit  of  land  that  he  deemed  waste,  but  a  farmer  interfered  as  he  began  to  build. 
He  accordingly  had  all  the  stones  rolled  down  hill  to  a  spot  by  the  road  side, 
heaped  one  on  another  in  rude  walls,  rough  beams  thrown  across,  and  covered  with 
turf,  and  went  into  the  house  the  same  night.  In  that  house  his  grandchildren  are 
now  living. 

Two  of  the  stanzas,  3  and  5,  are  found  in  the  Scotch  song,  "  Wally,  Wally,  up 
the  bank,"  "Orpheus  Calsdonicus,"  1733,  No.  34;  stanzas  4  and  5  in  the  song  in 
•'The  Scott's  I^Iusical  Museum,"  17S7 — 1803,  VI.,  p.  582  ;  Herd's  "Scottish  Songs," 
3rd  ed.,  1791,  I.,  p.  140;  part  of  last  stanza  is  like  our  conclusion.  In  "The 
Wandering  Lover's  Garland,"  circ.  1730,  are  two  of  the  verses  worked  into  an 
independent  ballad,  showing  that  the  original  is  earlier.  Again  taken  down  from 
W.  Nichols,  of  Whitchurch,  near  Tavistock,  it  was  a  song  of  his  grandmother's, 
who  sixty  years  ago  was  hostess  of  the  village  inn. 

LXXXVII.  The  Rambling  Sailor.  Taken  down  by  Mr.  Sheppard  from 
Roger  Hannaford,  South  Widdecombe.  A  hornpipe  tune.  There  are  several 
broadside  versions  of  this.  Originally  the  song  was  "  The  Rambling  Soldier," 
and   so    appears    about    the  middle   or    latter    end   of    last    century.      Then    some 


XXXIX. 

poetaster  of  Catnarli's  re-wrote  it  as  "  The  Rambling  Sailor,"  dcstroj'ing  all  the 
wit  and  point  of  the  original;  which  wit  and  point,  by  the  way,  were  characteristic 
of  the  age ;  but  as  in  the  West  it  is  set  to  a  hornpipe,  we  have  retained  the  song  as 
one  of  a  sailor,  only  modifying  the  words  where  objectionable.  The  "Rambling 
Soldier,"  the  early  copy  I  have  seen,  is  in  the  possession  of  Dr.  Barrett ;  a  later 
copy,  circ.  1820,  by  Whiting,  of  Birmingham.  Ballads,  B.M.  (1C76,  e.  2).  The 
"  Rambling  Sailor,"  by  Disley,  circ.  1830 ;  Ballads  collected  by  Cramplon,  B.M. 
(11,621,  h.),  Vol.  VIII. 

LXXXVIII.  A  Single  and  a  Married  Life.  Taken  down  from  Henry  Bickic, 
of  Bridestowe,  This  belongs  to  the  class  of  diaiogae  Ballads,  of  which  the  best  known 
is  "  The  Husbandman  and  the  Serving  Man."  We  have  not  been  able  to  trace  this 
anywhere  so  far.     But  that  is  no  reason  why  we  should  not  yet  light  on  it  soinewhere- 

LXXXIX.  Midsummer  Carol.  Taken  down  from  Will.  Aggett,  an  old 
crippled  labourer,  very  illiterate,  at  Changford  ;  melody  noted  by  Mr.  Bussell.  A  very 
early  and  curious  melody  of  the  same  date  as  that  to  the  "  May  Day  Carol," 
No.  47  ;  and  the  words  belong  to  a  similar  custom.  This  has  not  been  moralised 
as  has  been  the  "  May  Day  Carol,"  by  the  Puritans. 

XC.  The  Blackbird.  The  melody  taken  down  twice  by  Mr.  Sheppard,  first 
from  James  Parsons,  secondly  from  Roger  Hannaford.  From  Parsons  we  got  but 
one  verse,  that  with  which  we  begin  ;  but  from  Hannaford  we  recovered  the  entire 
ballad,  that  begins  thus  : — 

I.  "  Three  pretty  maidens  a-niilking  did  go. 
Three  pretty  maids  a-niilking  did  go, 
When  the  wind  it  did  blow  high. 
And  the  wind  it  did  blow  low, 
And  it  tossed  their  milking  pails  to  and  fro. 

Then  she  met  with  a  man  that  she  did  know, 
O  she  met  with  a  man  that  she  did  know, 
And  she  asked  have  you  skill  ? 
And  she  ask'd  have  you  the  will  ? 
To  catch  me  a  small  bird  or  two." 

Then  comes  the  verse  on  the  blackbird  ;  and  two  additional  verses,  not  desirable. 
The  same  ballad  in  Lyle's  Collection,  1827,  "  from  recollection  ;  air  plaintive  and 
pastoral."  It  is  a  curious  song,  as  one  docs  not  well  see  what  connexion  the  first 
verse  with  the  three  milkmaids  has  with  the  rest,  which  concerns  only  one.  This 
is  one  of  the  many  old  English  songs  which  have  found  their  way  into  Scotland  on 
one  side,  and  into  Cornwall  on  the  other.  A  broadside  version  of  this  ballad  in 
nine  stanzas,  printed  by  Williamson,  of  Newcastle.      In  this,  the  last  verse  begins: 

"  So  here's  a  health  to  the  bird  in  the  bush, 
Likewise  to  the  linnet  and  the  thrush,"  &c. 

In  order  to  preserve  the  charming  old  air  it  was  necessary  to  write  another 
ballad,  preserving  only  one  verse  of  the  original. 

XCI.  The  Green  Bed.  Taken  down  from  J.  Masters,  Bradstone,  melody 
noted  by  Mr.  Sheppard.  The  same  melody  set  to  the  "  Outlandish  Knight,"  sung 
by  Richard  Gregory  at  Two  Bridges,  Dartmoor  ;  he  imported  into  the  air  a  phrase 
from  the  "  British  Grenadier."  The  "  Green  Bed  "  exists  as  a  broadside  in  six 
double  verses.  Mr.  Sheppard  has  re-written  the  ballad,  as  the  original  was  poor, 
condensing  the  story  into  somewhat  shorter  space.  The  air  somewhat  resembles 
"  The  girl  I  left  behind  me." 

XCII.  The  Loyal  Lover.  Taken  down  from  Mary  Sacherley,  Huckaby  Bridge, 
and  Anne  Roberts,  Scobbetor,  Widdecombe.  Mr.  Bussell  had  infinite  labour  with 
this  air,  which  we  had  first  from  Mary  Sacherley,  an  old  illiterate  woman,  born 
and  bred  on  the  moor,  and  daughter  of  a  very  famous  old  song-man.  She  sang  it 
to  an  interminable  ballad,  "  The  Lady  and  the  Apprentice,"  and  never  sang  two 
verses  alike.  Four  or  five  variations  were  taken  from  her  lips,  with  mucli  trouble, 
as  she  sang  quickly,  and  could  not  be  checked  to  suit  the  requirements  of  the 
notator.     However,  we  got  the  same   melody  afterwards  from   Mrs.  Anne    Roberts, 


xl. 

now   in  Widdccoine,   but    formerly   of  Post    Bridge  in   the   heart    of  tlie  moor ;    she 
sang  with  perfect  precision  and  always  the  same. 

The  words  exist  in  part  in  "Colin  and  Phccbe's  Garland"  (B.M.,  11,621,  c.  5), 
but  this  has  only  two  verses. 

XCIII.  The  Streams  of  Nantsian.  Taken  down  from  Mathew  Baker,  a 
cripple,  aged  72,  who  can  neither  read  nor  write,  Lew  Trenchard.  Music  noted 
down  by  Mr.  Siieppard.  Again  from  James  Olver,  Laimceston,  and  from  Matthew 
Ford,  shoemaker,  Menheniot,  practically  the  same  melody.  This  song  is  "  The 
Streams  of  lovely  Nancy,"  of  the  broadsides.  It  was  printed  about  1830  by  Keys 
of  Devonport,  with  four  verses,  of  which  verse  three  had  naught  to  do  with  the 
song.  And  in  many  broadside  versions  the  short  original,  consisting  of  four  verses 
only,  is  swelled  out  with  scraps  from  other  ballads,  perfectl}'  recognisable,  and 
merely  put  in  by  the  printer  to  fill  up  the  available  space.  The  Nancy  of  the 
broadsides  is  Nant — (something  or  other).  Nant  or  Nan  is  firstly  a  falling  stream, 
and  then  secondly  a  valley  or  glen.  Nankivell  is  the  Horse-vale,  Nanteglos  the 
church-dale,  Nanvean  is  the  small  vale;  there  are  hundreds  of  dales  and  streams  with 
names  beginning  Nan  or  Nant,  in  Cornwall.     Devon  is  Dyfneint,  the  Deep  Vales. 

XCIV.  The  Drunken  Maidens.  Taken  down  from  Edmund  Fry,  Lydford. 
Melody  noted  by  Mr.  Bussell.  This  is  an  old  ballad  ;  it  is  found  in  "  Charming  Phillis' 
Garland,"  circ.  1710.     A  Breton  version,  given  by  Luzel,  "  Merc'hed  Caudan." 

XCV.  Tobacco  is  an  Indian  Weed.  This  is  an  old  and  famous  song,  originally 
written,  it  is  conjectured,  by  George  Withers,  as  Mr.  Collier  found  a  copy  of  it  in 
a  MS.  of  the  date  of  James  I.  with  his  initials  to  it.  Previous  to  this  discovery, 
it  was  attributed  to  Ralph  Erskine,  who  died  in  1752.  It  is  found  in  "  Merry 
Drollery  Complete,"  1670,  and  on  a  broadside  dated  1672.  We  give  the  tune  to 
which  it  is  sung  traditionally  all  round  Dartmoor  and  in  Cornwall,  and  Mr. 
Sheppard  has  arranged  it  in  canon  form;  but  it  is  entirely  distinct  from  that  to 
which  it  is  sung  elsewhere,  as  printed  by  Chappell,  II.,  564,  which  is  the  air  given 
by    D'Urfey  in  his  "Pills  to  purge  Melancholy,"  1719. 

XCVI.  Fair  Susan  Slumbered.  Music  taken  down  from  George  Cole, 
quarryman,  aged  76,  Rundlcstone,  Dartmoor.  The  music  was  noted  by  Mr.  Sheppard. 
The  words  were  too  utterly  worthless  to  be  given  here,  and  Mr.  Sheppard  has 
written  a  fresh  copy  of  verses  to  the  melody.  The  original  words  are  found  in 
"The  Vocal   Library,"  London,    1822;   No.  1,421,  "As  a  fair  maid  walked." 

XCVII.  The  False  Lover.  Words  and  music  taken  down  from  old  Mary 
Sacherley  by  Mr.  Sheppard.  Such,  among  his  broadsides,  has  two  versions  of  it. 
The  earliest  begins  "  I  courted  a  bonny  lass  on  a  rainy  day,"  and  is  in  7  stanzas. 
It  is  No.  49.     The  other.  No.  592,  is  a  modern  re-writing  of  the  old  theme. 

XCVIII.  Barley  Strav/,  Taken  down  from  the  singing  of  Mr.  G.  H.  Hurell, 
the  blind  organist  at  Chagford,  as  he  heard  it  sung  by  a  carpenter,  William  Beare, 
some  fifteen  years  ago.  The  words  were  very  vulgar,  and  consequently  Mr. 
Sheppard  has  re-written  the  song.  The  air  is  of  a  robust  character,  and  was  better 
than  the  words,  The  air  was  used  by  A.  S.  Rich,  without  some  of  the  most 
characteristic  passages,  for  Hunneman's  comic  "  Old   King  Cole,"  pub.  circ.  1830. 

XCIX.  Death  and  the  Lady.  Taken  down  from  Roger  Hannaford,  South 
Widdecombe.  Melody  noted  by  Mr.  Sheppard.  The  words  were  also  sent  by 
Captain  Hale  Monro,  of  Ingesdon  House,  Newton  Abbot,  as  sung  by  an  old  man 
there.  This  is  quite  different  from  the  "  Dialogue  of  Death  and  the  Lady,"  found 
in  black  letter  broadsides,  and  given  by  Bell  in  his  "  Songs  of  the  English 
Peasantry,"  p.  32.  The  tune  to  this  latter  is  given  by  Cliappell,  I.,  167.  In  Carey's 
"Musical  Century,"  1738,  is  given  the  air  of  "Death  and  the  Lady,"  and  as  "an 
old  tune."     But  this  melody  and  ours  have  nothing  in  common. 

C.  Adam  and  Eve,  This  charming  old  song  is  a  favourite  with  the  peasantry 
throughout  England,  and  is  sung  in  Yorkshire  and  in  Sussex,  in  Gloucester  and 
the  Midlands,  to  the  same  melody.  Taken  down  by  Mr.  Sheppard  from  John 
Rickards,  Lamerton.  The  words  are  printed  in  Bell's  "  Songs  of  the  English 
Peasantry,"  p.  231.  He  says,  "  We  have  had  considerable  trouble  in  procuring  a 
copy  of  the  old  song,  which    used,  in   former   days,  to  be  very  popular  with   aged 


xli. 

people  resident  in  the  North  of  England.  It  has  been  long  out  of  print,  and 
handed  down  traditionally.  By  the  kindness,  however,  of  Mr.  S.  Swindells,  printer, 
Manchester,  we  have  bevn  favoured  with  an  ancient  printed  copy."  In  the 
original  the  song  consists  of  lo  verses.  The  earliest  copy  of  it  I  know  is  in  "  The 
Lady's  Evening  Book  of  Pleasure,"  printed  in  Cow  Lane,  London,  about  1740.  It 
will  be  found  in  a  collection  of  early  Garlands  and  Ballad  Books  in  the  Brit.  Mus., 
made  by  Mr.  J.  Bell  about  1812,  and  called  by  him  "The  Eleemosynary  Emporium." 
This  air  is  first  found  in  "  Vocal  Music,  or  the  Songster's  Companion,"  2nd  ed., 
1772,  to  the  song,  "  Farewell,  ye  green  fields  and  sweet  groves,"  p.  92.  Then  it  was 
taken  into  "The  Tragedy  of  Tragedies,  or  Tom  Thumb,"  as  the  air  to  "In  hurry 
post-haste  for  a  license,"  and  was  attributed  to  Dr.  Arne.  In  "  Die  Familie 
Mendelsohn,"  Vol.  2,  is  a  scrap  by  Felix  Mendelsohn,  dated  Leipzig  i6th  August, 
1840,  which  is  identical  with  the  first  four  bars  of  this  melody. 

CI.  I  Rode  my  Little  Horse.  Taken  down  from  Edmund  Fry,  of  Lydford, 
but  the  tune  was  faulty.  We  afterwards  obtained  it  complete  and  correct  from 
John  Bennett,  a  labourer,  aged  67,  at  Chagford.  This  ballad  runs  on  the  same 
lines  as  "Jolly  Roger  Twangdillo,"  by  D'Urfey.  Can  it  not  be,  substantially,  the 
original,  which  he  re-wrote  in  or  about  1700? 

CII.  The  Saucy  Ploughboy.  Melody  taken  down  from  Will.  Setter,  labourer, 
Two  Bridges,  Dartmoor.     The  words  he  sang  to  this  tune  began  : — 

"  As  I  went  down  to  Salisbury, 

'Twas  on  a  market  day. 
By  chance  I  met  a  fair  pretty  maid, 

By  chance  all  on  the  way. 
Her  business  it  to  market  was. 

With  butter,  eggs,  and  whey. 
So  we  both  jog  on  together,  my  boys, 

With  Dcrry-down  weeday." 

But,  for  very  sufficient  reasons,  we  could  not  employ  the  words. 

CIII.  I'll  build  myself  a  gallant  Ship.  In  our  first  edition  we  gave  the  Devon- 
shire form  of  "  The  Lowlands  ot  Holland,"  setting  it  to  a  second  melody  we  had  taken 
down  for  "  The  Bold  Dragoon."  But  the  accent  not  agreeing  satisfactorily  with  that  of 
the  music,  I  have  been  compelled  to -very  slightly  alter  the  words  so  as  to  agree 
with  the  music. 

The  air  was  taken  down  by  Mr.  Bussell  from  Richard  Cleave,  at  "  The 
Forest  Inn,"  Huckaby  Bridge.  Never  shall  I  forget  the  occasion.  Mr.  'Bussell 
and  I  drove  across  Dartmoor  in  winter  in  a  furious  gale  of  rain  and  wind,  to  Huckaby 
Bridge,  in  quest  of  an  old  man  we  had  heard  of  there  as  a  singer.  We  found 
the  fellow,  but  he  yielded  nothing,  and  our  long  journey  would  have  been  fruit- 
less had  we  not  caught  Richard  Cleave  and  obtained  from  him  this  air  which  cost  me 
a   bronchitis   attack,    that   held   me   a   prisoner   for   six  weeks. 

CIV.  The  Everlasting  Circle.  A  widely-known  song  in  Devon.  A  version  taken 
down  from  J.  Woodrich,  another  from  Will.  Setter,  Two  Bridges;  but  the  best  from 
"  Old  Capul,"  i.e.,  William  Nankivell,  an  aged  quarryman,  who  for  years  lived  under 
Roos  Tor,  on  the  River  Walla  above  Merrivale  Bridge,  absolutely  illiterate,  but  with  a 
memory  laden  with  old  songs.  This  same  song  is  sung  by  the  Breton  peasants. 
It  is  called  in  Brittany  "  Ar  pare  caer  "  (The  fair  field).  Luzel  :  "  Chans,  pop.  de 
la  Basse  Bretagne,"  66.  In  the  variants  we  have  taken  down,  the  latter  part 
differs.     That  of  Nankivell,  is  : — 

"  And  out  of  the  baby  there  grew  a  fine  lawyer,  &i. ," 

"  And  then  from  the  lawyer  there  came  a  fine  parson,  &c." 

"And  out  of  the  parson  there  sprang  a  black  devil." 

Music  noted  down  by  Mr.  Bussell.  A  copy  of  it  in  broadside.  "The  Tree  in 
the  Wood,"  printed  by  Pitts,  of  Seven  Dials,  in  my  possession.     This  begins  : — 

"  There  was  a  tree  grew  in  a  wood, 
A  dainty  curious  tree. 
For  the  tree  was  in  the  wood, 
And  the  wood  was  down  in  the  valleys  low." 


xlii. 

Another  Devon  version  with  air  in  Mason's  "  Nursery  Rhymes  and  Country 
Songs,"  1S77.  M.  Kidson  tells  me  he  has  heard  the  sonfr  sung  at  Oxford  to  "  Le 
Petit  Tambour,"  with  an  ending  tacked  on  from  "  Rule  Uritannia." 

CV.  All  in  a  Garden.  Taken  down  from  Harry  Smith,  Two  Bridges,  Dart- 
moor. Melody  noted  by  Mr.  Sheppard.  The  words  follow  so  closely  on  "  The 
Broken  Token"  (No.  44),  that  we  have  thought  it  advisable  to  give  the  melody 
a  fresh  copy  of  verses.  The  original  began,  "As  Polly  walked  into  her 
garden." 

CVI.  Hunting  the  Hare.  An  old  country  dance,  taken  down  from  "  Old 
Capul."  The  melody  noted  by  Mr.  Bussell.  Date  of  the  air  the  begining  of  the 
17th  century. 

CVII.  Dead  Maid's  Land.  Taken  down  from  Joseph  Paddon,  Holcombe 
Burnell,  but  he  sang  the  words  to  the  air  we  have  used  to  No.  108.  The  first 
three  verses  were  "I  Sowed  the  Seeds";  then  he  branched  off  into  what  I  give. 
Compare  with  this  the  Scottish  ballad,  "The  Gardener,"  in  Child's  "English 
and  Scottish  Popular  Ballads,"  Pt.  VII.,  No.  219,  but  the  ballad  has  an  entirely 
different  ending.  We  have  set  therefore  to  it  an  air  taken  down  from  Anne 
Roberts,  of  Scobbctor,  Widdecombe-in-the-Moor.  In  the  major  this  is  a  massive 
li3'mn-tune. 

CVI  1 1.  "Shower  and  Sunshine."  Air  taken  down  from  Joseph  Paddon, 
Holcombe  Burnell,  N.  Devon.  New  words;  the  original  hear  a  certain  resemblance 
to  "  I  Sowed  the  Seeds  of  Love,"  and  yet  differ  considerably  from  it. 
The  melody  is  the  old  English  air  "  I  Sowed  the  Seeds  of  Love,"  in  Chappell, 
IL,  522,  and  is  interesting  as  a  local  variant.  A  Scottish  variant  is  given  by 
Alexander  Campbell,  in  "Albyn's  Anthology,"  1816,  I.,  p.  40.  The  Irish  in 
Joyce's  "  Ancient  Irish  Music,"   No.  74. 

CIX.  Haymaking  Song.  This  quaint  old  carol-like  song  was  ta^c^n  down  first 
from  J.  Woodrich.  The  song  was  his  father's ;  Woodrich  learned  it  of  him  about 
1850,  and  he  says  it  was  his  father's  favourite  song.  We  then  got  it  again  from 
J.  Parsons.  The  air  belongs  to  the  same  date  as  the  May  Day  Carol.  Wood- 
rich  could  not  recall  the  first  stanza,  and  knew  only  one  or  two  complete,  the 
rest  in  fragmentary  state.  Not  till  after  I  had  recomposed  the  fragments  did  I 
detect  the  ballad  in  "West  Country  Garlands,"  cir.  1760  (B.M.,  11,621,  b.  11), 
and  among  the  broadsheets  of  Pitts,  about  the  end  of  last  century.  It 
begins  "  In  the  merry  month  of  June."  But  this  is  the  title  of  a  well-known 
old  English  ballad  air,  different  from  ours.  Moreover,  Woodrich's  air  did  not 
fit  the  printed  words,  and  I  did  not  like  to  alter  the  latter  to  fit  his  melody, 
as  the  printed  ballad  went  to  the  air  of  its  initial  words.  "  In  the  merry  month 
of   June"   will   be   found   in    "The  Beggar's   Wedding,"    1729,   air   22. 

ex.  Bibberly  Town.  Melody  taken  down  from  John  Bennett,  Chagford, 
labourer,  aged  68.  Dr.  Barrett,  to  whom  I  showed  the  air,  believed  it  to  be  a 
variant  of  "  Moll  in  the  Wad,"  to  which,  about  1S28,  Mr.  H.  Williams  set  his 
song  of  "  Sarah   Syke,"  beginning  : — 

"To  me,  said  Mother,  t'other  day, 

Why  Giles  you  seem  to  pine  away,"  &c. 

Mr.  Sheppard  and  I  have  compared  the  tunes,  but  fail  to  trace  the  likeness, 
as  far  as  we  can  judge,  they  are  both  ^  time,  ind  there  the  resemblance 
begins  and  ends.  The  words,  as  sung,  were  vulgar,  the  point  being  that 
the  tinker  kisses  all  tlie  girls  he  meets  and  they  pay  him  with  "  guineas  of 
gold  "  for  his  kisses,  and  he  drinks  the  guineas  away  in  the  tavern.  Mr.  Sheppard 
has  written  fresh  words  to  the  ballad.  The  "  Bibberly  Town  "  is,  on  the  broad- 
side copies,  "Beverley  Town."  As  we  have  altered  the  words,  we  have  thought  it 
well  not  to  take  tlie  title,  "  Beverley  Town,"  that  belongs  to  the  original  ballad  as  in 
print.  When  we  have  re-written  a  ballad,  it  has  been  to  rescue  the  melody  from 
being  lost.  Many  an  old  melody,  associated  with  undesirable  words,  was 
saved  by  Burns,  Ramsay,  Cunningham,  &c.,  from  disappearance  by  their  writing 
good    words    to    the   old   tunes.       The    grossness    of    the    words   to   which    it    was 


xliii. 

associated  drove  it  into  the  background  —  drove  it  out  of  memory  altogetlier 
among  decent  people.  We  Iiave  not  had  among  us  such  kings  and  queens 
of  song  writing  as  Burns,  Ramsay,  Hogg,  Tannaliill,  Baronness  Nairne,  Lady 
Anne  Barnard,  &c.,  to  give  the  old  airs  a  new  spell  of  life  by  associating 
tnem  to  imperishable  words.  We  have  not  re-written  words  unless  there  were 
good  cause.  Many  an  old  ballad  is  coarse,  and  many  a  broadside  ballad  is  common- 
place. Songs  that  were  thought  witty  in  the  Elizabethan  and  Caroline  epochs,  are 
no  longer  sufferable  ;  and  broadside  ballads  are  in  many  cases  vulgarised  versions  of 
earlier  ballads  lost  in  their  original  forms.  Two  courses  lay  open  to  us.  One  is 
that  adopted  by  Dr.  Barrett  and  Mr.  Kidson,  to  print  the  words  exactly  as  given 
on  the  broadsides,  with  asterisks  for  the  undesirable  stanzas.  There  is  a  good  deal 
to  be  said  for  this  course. 

On  the  other  hand,  there  is  that  adopted  by  the  Scottish  and  Irish  collectors,  to  re- 
write and  modify  where  objectionable  or  commonplace.  This  has  been  the  course  we 
have  adopted.  It  seemed  to  me  a  pity  to  consign  the  lovely  old  melodies  to  the 
antiquarian's  library,  by  publishing  them  with  words  which  were  quite  fatal  to  the 
success  of  the  songs  in  the  drawing-room  or  the  concert-hall.  And  be  it  observed 
some  of  the  best  airs  wers  linked  to  the  worst  words,  not  always  gross,  but 
utterly  commonplace.  We  resolved,  where  the  old  words  were  good,  or  tolerable, 
to  retain  them  intact.  When  bad,  to  re-write,  adhering  as  closely  as  possible  to 
the  original.  Where  the  songs  were  mere  broadside  ballads  we  have  had  no  scruple 
in  doing  this,  for  we  give  reference  to  the  pressmark  in  the  British  Museum, 
where  the  broadside  may  be  found,  or  give  the  number  of  ]\Ir.  Such's  series,  so 
that  anyone  interested  may  purchase  it  for  a  halfpenny.  When,  however,  the 
ballad  or  song  seemed  to  be  traditional,  and  not  taken  from  a  broadside,  then  we 
have  printed  it  as  truly  as  we  could,  and  if  we  have  supplied  a  hiatus,  we  frankly 
say  so. 

No  two  singers  give  the  same  ballad  exactly  alike,  the  variations  are  sometimes 
so  great  that  we  suspect  they  are  reproductions  by  local  poets  of  the  old  themes. 
A  striking  instance  of  this  is  "  The  Masterpiece  of  Love  Songs,"  that  was  printed 
about  1670  ;  and  has  been  reproduced  by  Mr.  Ashton,  in  his  "  Century  of  Ballads." 
I  have  taken  down  one  form  of  this,  tolerably  like  the  earliest  printed  form.  It  exists  as 
a  modern  broadside  in  another.  Mr.  R.  N.  Worth  has  sent  me  another  taken  down 
from  an  old  man  of  87  quite  different,  and  I  have  had  a  fourth  also  different  from 
another  singer. 

No  topic  is  more  dear  to  the  bucolic  mind  than  that  of  the  young  lady  who 
follows  her  lover  to  sea,  or  in  the  ranks,  in  male  costume.  The  earliest  form  of 
the  first  of  these  is  perhaps  "  The  Simple  Ploughboy,"  No.  49.  The  same  story 
has  been  re-written  and  re-written  again  and  again,  and  reappears  in  a  score  of 
forms,  the  last  of  which  is  tlie  fo'castle  song  of  "  In   Causand   Bay  Lying." 

In  conclusion,  I  may  say,  in  the  words  of  an  old  song  in  D'Urfey's  •'Pills," 
and  in   "The  Aviary,"  circ.    1730: — 

"  Come  buy  my  (old)  Ballad 

I  have  in  my  Wallet. 
But  'twill  not  I  fear  please  every  Pallate. 

Then  mark  what  ensu'th, 

I  swear  by  my  youth, 
Til  at  every  Line  in  my  Ballads  is  Truth: 
A  Ballad  of  Wit,  a  brave  Ballad  of  Worth, 
'Tis  newly  printed,  and  newly  come  forth." 


S.  BARING-GOULD. 


Lew  Trenchard,  N.  Devon,  yuly,  1891. 


xliv. 


ON  THE  MELODIES  OF  SONGS  OF  THE  WEST. 

By    H.    FLEETWOOD    SHEPPARD. 


Of  the  hundred  and  ten  melodies  in  this  volume,  about  a  dozen  are  found  to  have  been 
already  published.  A  few  more  may  yet  be  identified  with  ti;nes  known  elsewhere, 
but  the  bulk  can  fairly  claim  to  be  regarded  as  traditional  tunes  of  the  West  of  England, 
and  specially  of  Devonshire. 

No  account  can  be  given  of  the  origin  of  folk-songs  in  England  or  abroad. 
It  has  no  history.  We  know  that  in  Greece  the  reapers  and  the  sowers,  the 
weavers  and  herdsmen,  the  millers  and  wool-carders,  had  their  distinctive  songs; 
that  Britain  was  a  song-loving  country  before  the  time  of  Bede;  that  in  the  13th 
and  14th  centuries  the  troubadours  in  France,  and  the  minnesingers  in  Germany, 
greatly  promoted  the  spread  of  song;  that  Scandinavia  has  an  extensive  ballad 
literature  unexplored;  that  we  owe  to  the  Celtic  race  the  preservation  of  the  song- 
relics  of  Bards,  Scalds,  and  Minstrels,  and  that  the  legitimate  successors  of  these 
have  been  the  ballad-singers  of  the  last  three  centuries :  all  this  we  know,  but  of 
the  earliest  history  of  the  people's  music  we  know  nothing.  Only  it  is  certain  that, 
whilst  music  was  being  painfully  developed  as  an  art,  or  elaborated  as  a  science, 
the  uneducated  of  all  countries  were  carolling  their  songs  as  freely  as  the  birds  ; 
and  that  their  traditional  melodies  are  regarded  by  authorities,  almost  without 
exception,  as  the  productions  of  untaught  composers,  singing,  as  it  were,  by 
inspiration. 

Why  should  not  this  be  so?  Melody  is  not  a  progressive  art,  nor  is  any 
scientific  knowledge  of  music  necessary  for  the  production  of  tunes  both  striking 
and  touching.  We  see  this  in  the  early  hymn-tunes  of  the  Church,  which,  notwith- 
standing their  strange  form,  are  often  full  of  beauty  and  expression,  and  instinct 
with  that  devotional  feeling  which  no  scientific  knowledge  can  give.  Yet  these 
old  tunes  are  no  remains  of  any  cultivated  musical  age :  they  are  simply  the 
inartistic  efforts  of  devout  minds  to  express  religious  emotions  in  song. 

The  same  thing  happens  elsewhere.  In  many  an  ancient  village  churcn  we  find 
attempts  at  architectural  ornament,  in  which  some  native  genius  has  striven  to 
embody  his  idea  of  the  beautiful.  Rude  though  the  work  may  be,  it  yet  reveals 
the  artistic  mind.  Artistic  knowledge  may  be  lacking,  but  the  feeling  is  there,  and 
asserts  itself.  So  in  painting.  If  the  dawning  genius  of  Opie  and  Reynolds  had 
unhappily  been  neglected,  it  would  have  asserted  itself,  and  served  art  after 
its  own  fashion.  Or,  in  music,  if  little  John  Davy,  who,  at  six  years  old, 
purloined  the  friendly  smith's  horseshoes  to  make  a  peal  of  bells,  had  never  been 
apprenticed  to  "  Mr.  Jackson  of  Exeter,"  his  gift  of  melody  would  not  have 
withered  away ;  he  would  still  have  invented  charming  tunes,  picking  them  out 
on  his  horseshoes,  or  warbling  them  without  premeditation.  So  it  may  have 
been  with  tunes  in  this  book.  I  see  no  reason  for  doubting  that  they  are, 
in  the  main,  native  productions,  or  that  in  other  parts  of  the  country  may  be 
made  similar  collections  of  what  are  really  the  true  folk-songs  of  England. 

Many  no  doubt  think  otherwise.  M.  Loquin,  for  instance,  maintains  that 
in  France  there  are  no  such  things  as  folk-songs  originating  with  the  people ; 
but  that  what  are  so-called  are  invariably  relics  of  an  age  of  musical  culture. 
It  may  be  so  in  France.  The  songs  of  Adam  de  la  Hale,  or  de  Machault, 
or  Depres  can  hardly  ever  have  been  popular,  but  we  may  seek  for  inspiration 
lower  down.  The  Ballard  family,  who  held  the  sole  patent  for  printing  music 
in  France  from  1550  to  the  Revolution,  published  hundreds  of  Cliaiisous  pour  boire 
tt  pour  danscr,   and  these   may   have   leavened  the  popular  music  just  as  Playford's 


xlv. 

Dancing  Master  leavened  it  in  England,  as  Chappell  abundantly  shows.  But  the 
compositions  of  our  own  cultured  song-writers  had  no  such  influence.  You  may  turn 
over  the  pages  of  scores  of  collections  of  songs,  printed  in  the  last  century, 
without  finding  any  trace  of  such  tunes  as  we  have  brought  together  in  the 
following  pages.  These  have  a  strong  local  flavour  and  a  natural  simplicity  which  are 
wholly  wanting  in  the  printed  collections.  M.  de  Coussemaker  observes  the  same 
thing  in  the  folk-songs  of  Flanders.  He  says  "  Our  Flemish  melodies  are  none 
the  less  freely  original ;  that  is  to  say,  native  to  the  country  and  the  offspring 
of  spontaneous  inspiration."  Nor  can  one  look  into  the  folk-songs  of  other 
countries,  Sweden  for  example,  without  perceiving  that  their  structure,  rudeness, 
anil  tonality  betray  no  signs  of  a  cultivated  musical  origin.  What  musical  culture 
within  reach  of  the  people  was  there  before  the  thirteenth  century  ?  And  yet  there  is 
a  great  mass  of  rehgious  music  far  older  than  that.  Whence  came  the  earlier  Church 
hymns  ?  Many  of  them  were  no  doubt  spontaneous  inspirations,  and  why  should 
it   not   have   been   the   same   with   secular   melodies,   and   in   a   later  age  ? 

In  these  Songs  of  the  West  there  are  specimens  of  tunes  composed  by  the 
men  who  sang  them.*  They  are  not  the  most  original  certainly,  but  what  one  man 
does  indifferently  another  with  greater  but  equally  untrained  gifts  may  do  well. 
All  originality  is  not  equal.  To  say  that  ploughmen  could  not  originate  melodies 
is  a  mere  assumption.  Ploughmen  have  produced  poetry,  why  not  music  ?  Burns 
was  a  ploughman,  Clare  a  farm  lad,  Bloomfield  a  shoemaker,  Tannahill  a  weaver; 
they  cultivated  their  gifts,  but  the  gift  was  there.  People  do  not  postpone  using 
their  gifts  until  they  have  cultivated  them  any  more  than  they  postpone  using 
their  legs  until  they  have  learned  to  walk.  I  know  a  sweet  singer  who  composed 
songs  before  she  had  learned  a  note  of  music.  At  seven  years  old  a  book  of 
children's  poems  was  put  into  her  hands  and  she  immediately  began  to  sing  them, 
making  her  own  melodies  as  she  went  along.  I  took  down  one  of  these  tunes,  fresh 
from  her  childish  inspiration,  and  here  it  is,  as  pretty  a  little  child's  song  as  one 
need  wibh  for. 


See,    see  how  the      i  -  ces   are    melt  -  ing     a  -  way,    The     riv  -  er    has  burst  from  its    chain ;  The  woods  and  the 


hedg-es   with     ver-dure  look    gay,     j\nd     dui- sles    en-    am  -  el     the    plain! 


It  is  quite  conceivable  that  some  of  our  West  Country  airs  may  have  had  a  similar 
though  not  so  juvenile  an  origin.  But  there  is  no  longer  the  same  call  for  the 
exercise  of  the  faculty.  The  article  is  evolved  by  machinery,  turned  out  by  the 
thousand,  and  the  world,  rural  as  well  as  urban,  is  deluged  with  songs  good, 
bad  and  very  indifferent.  No  real  folk-songs  have  been  produced  in  the  present 
century.  The  popular  ditties  of  the  day  are  imposed  upon  the  people,  but  do  not 
spring  from  them.  The  ballad  maker's,  no  less  than  the  ballad  singer's,  occupation 
is  gone  ;    and  in  a  very  short  time  the  ballads  themselves  will  be  gone  also. 

The  dates  of  these  songs  can  no  more  be  decided  than  can  their  origin.  They 
defy  chronology.  Old  tunes  are  not  always  quaint,  nor  graceful  ones  always  new. 
Here    is  a  tune   which  we  might    set  down  as    a    dance-tune  of    the  iSth  century: 


^ 


r*N  '\v  JlJ-J'^lJ-;jl;.j..!L!.:|l-J  ^\^  ll\JJJV^ 


•  We  met  with  one  Dartmoor  minstrel  who  sang  to   us    a  composition  of    his  own,  both  words  and 
music ;    unhappily    we    could    make     nor    head   nor    tail     of    either.      As    a     rule     authorship    is    not 


confessed  unless  the  production  be  approved. 


xlvi. 

whereas  it  is  really  a  hymn  •  tunc  of  500  years  earlier,  extant  in  a 
i3lh  century  MS.  Assertion,  therefore,  is  hazardous;  but  we  may  classify  the 
songs  in  the  different  styles  to  which  they  apparently  belong.  We  have  heard 
them  of  all  styles.  Songs  with  an  archaic  ring  in  them,  of  the  ancient  church 
modes,  and  as  old  as  the  Wars  of  the  Roses,  or  older  (4,  47,  53,  73) ;  common-metre 
ballad  tunes  of  the  i6th  century  (33,  loS) ;  songs  of  the  Elizabethan  era,  with  a 
quasi-madrigalian  flavour  about  them  (28,  78)  ;  songs  of  a  didactic  turn,  of  the 
early  Stuart  times  (8g,  107)  ;  Puritan  songs  of  the  Commonwealth  (g)  ;  jovial  songs 
of  the  roystering  Restoration  days  (5,  26,  68)  ;  tripping  tunes,  such  as  might  have 
come  out  of  Playford's  Dancing  Master  (59,  79)  ;  hunting  and  hornpipe  tunes  of  the 
last  century  (91,  106)  ;  songs  of  seafaring  and  shipwreck  (38,  48,  52)  ;  songs  of 
country  life  (83,  86,  98)  ;  of  ploughing  and  reaping  (61,  69)  ;  of  haytime  and  harvest 
(19,  109)  ;  of  wrestling  and  bell-ringing  (60,  82) ;  of  humour,  satire,  sentiment, 
drinking,  dancing,  poaching,  and  love-making :  all  sorts  and  conditions  of  songs 
(except  religious  songs,  which  did  not  survive  the  Reformation)  had  their  place  in 
the  memories  of  our  old  singers.  And  so  had  many  more  which  had  no  pretence 
of  being  traditional :  songs  of  the  Hook,  Reeve,  and  Dibdin  school ;  of  the  Volunteer 
epoch  ;  of  Bishop  and  Braham's  day  ;  of  the  London  streets  fifty  years  ago ;  mock- 
rustic  and  dialect  songs,  down  to  songs  of  the  present  music-hall  and  Christy 
Minstrel  type;  all  were  offered  as  genuine  wares  for  our  acceptance,  demanding 
some  discretion,  lest,  instead  of  preserving  local  and  traditional  melodies,  we  should 
be  merely  reproducing  music  of  widely  different  origin,  written  to  sell,  and  imported 
in  the  way  of  trade.  For  no  reliance  was  to  be  placed  on  the  statements  of  the 
singers.  The  song  which  an  old  man  of  four-score  firmly  believed  that  he 
learned  at  his  mother's  knee  in  his  early  childhood,  proved  to  be  the  composition  of 
a  well-known  London  writer  thirty  years  later  ;  and  the  genuine  Devonshire  ballad, 
vouched  for  as  the  production  of  a  talented  friend  forty  years  ago,  was  found  to  be 
one  of  Dibdin's,  sixty  years  earlier ;  and  so  we  came,  by  degrees,  to  recognise  the 
professional  type,  and  to  learn  that  songs  with  too  much  regularity  in  the  tune, 
and  too  much  point   in  the  words,  were  never  the  genuine  ditties  of  Arcadia. 

The  Devonshire  songs,  with  all  their  merits,  do  not  present  any  strongly- 
marked  melodic  peculiarities  or  features.  Less  harsh  than  the  northern,  less  bold 
than  the  Welsh  tunes,  their  affinity  is  rather  with  those  of  Ireland ;  but  their 
character  is  that  of  Englisli  music,  though  with  a  grace  and  softness  which 
indicates  their  Celtic  vein.  Such  songs  as  31  or  no  should,  perhaps,  be  transferred 
to  Somersetshire ;  their  roughness  is  foreign  to  the  more  western  county,  whereas 
such  tunes  as  39,  70,  84,  93,  96,  seem  plainly  native  to   it. 

As  a  characteristic  song  "The  Bell  Ringing"  (82)  may  be  cited.  There  is 
an  indolent  easy  grace  about  this  tune  which  is  quite  in  keeping  with  the  words 
and  charmingly  suggestive.  The  sunny  valleys,  the  breezy  downs,  the  sweet  bell- 
music  swelling  and  sinking  on  the  soft  autumn  air,  the  old  folk  creeping  out  of 
their  chimney-nooks  to  listen,  and  all  employment  in  the  little  town  suspended  in 
the  popular  excitement  at  the  contest  for  the  hat  laced  with  gold  ;  all  this,  told  in 
a  few  words  and  illustrated  by  a  few  notes,  quite  calls  up  a  picture  of  Devonshire  life, 
and  stamps  the  song  as  genuine.  The  narrator  is  unhappily  slightly  intoxicated, 
but  no  one  thinks  the  worse  of  him  :  stern  morality  on  that  or  any  other  score 
will  in  vain  be  looked  for  in  Songs  of  the  West.  This  very  easy  morality 
is  perhaps  one  reason  why  the  younger  generation  of  singers  takes  no 
care,  nor  shows  any  readiness  to  hand  down  the  songs  which  delighted  our 
forefathers.  Public  opinion  will  not  now  tolerate  the  coarse  humour,  and  coarser 
seiitinient  of  the  17th  and  i8th  centuries;  and,  although  we  may  lament  the  loss  of 
the  tunes,  the  singers  who  eschew  these  songs  are  more  to  be  praised  for  their 
good  ethical  sense  than  blamed  for  their  bad  musical  taste. 

Gold-laced  hats  went  out  of  fashion  a  full  hundred  years  ago.  After  that 
date  folk-songs  cease  to  be  traditional,  and  lose  their  interest.  The  influx  of 
London  publications  muddied  the  stream,  and  to  find  it  pure  we  must  remount 
higher  up.  But  very  old  songs  can  hardly  be  expected  to  have  a  local  or  even 
national  character.  Whether  we  take  those  of  Sweden  or  Portugal,  Flanders  or 
Ireland  (before  Moore  tampered  with  them)  we  find  them  all  associated  with  the 
Church  modes.     The  ancient  scales  may  be  so  frequently  discovered  in  the  following 


xlvii. 


songs,  that  it  will  be  as  well  to  point  out 
enough.  On  the  pianoforte,  from  D  to  D 
the  Dorian  mode  ;  E  to  E  that  of  the 
G  to  G  of  the  Mixolydian.  Others  there 
Their  peculiarity  is,  that  in  each  scale  th 
so  that  no  two  scales  are  precisely  alike, 
47,  73  ;  the  Phrygian  in  4,  67  ;  the  Lydian 
very  common,  although  we  have  given  no 
down  on  Dartmoor.  It  will  be  observed 
key  of  G,  it  has  t}F  all  through. 


how  they  may  be  recognised.      It  is  easy 

,  using   only  the    white  notes,  is  the    scale  ot 

Phrygian ;    F    to  F  of    the   Lydian  ;    and 

are,  but    these    suffice   for   the   purpose. 

e    serni-tones  occur   m   different  positions, 

The    Dorian    mode    may    be   traced    in 

does  not  appear,  but   the  Mixolydian    is 

example  of    it.      But  here  is   one   taken 

that  although  apparently  in  the  modern 


Song  in  the  Mixolydian  Mode. 

J , 1-^ , ^~ 


-I — ^ r 

In  Worcester-shire  Town    a   young  dam  .  sel    did    dwell,     For      wit   and  for  beau  -  ty  none  could  her  ex-  eel;      His 


bride    for      lo        be      a     young  man  court  •  ed       her,        And       he      by      his     trade   was      a        ship's  car  •  pen  •  ter. 

If  the  last  line  be  played  with  Fj{  instead  of  F5,  it  will  at  once  be  evident 
that  the  tune  does  not  belong  to  our  key  of  G  major,  but  that  the  flat  seventh  is 
intentional.     So  again  in  the  following  tune  in  the  same  mode : — 


I     was  brought  up      at         Ex  -  e  -  ter,    The    place  right  well  know      I —  Brought  up    of     hon  -  est        pa  -  rents,  And 


reared  right  ten  -  der    •    !y,  Till       1  be  -  came    a         rov    •  ing  blade,  Which  proved  my   des  -  ti   -    ny. 

This  use  of  the  minor  seventh,  awkward  as  it  may  seem  to  us,  finds  favour 
everywhere  with  rural  singers.  The  late  Sir  G.  Macfarren  laid  it  down  *  that  "  the 
demand  of  the  natural  ear  is  for  a  semi-tone  between  the  leading  note  and  the  tonic, 
instead  of  the  gross  rough  major  second  that  lies  between  the  yth  and  8th  degrees 
of  some  of  the  Church  modes  ;  "  and  further,  "  that  in  melodies  preserved  by  oral 
tradition,  this  note  is  always  altered  from  what  we  find  in  early  written  copies ;  " 
i.e.,  altered  from  a  tone  to  a  semi-tone.  With  all  respect  to  so  great  an  authority, 
experience  teaches  just  the  opposite :  that  it  is  the  tendency  of  untaught  singers 
to  change  the  semitone  into  a  whole  tone.  I  believe  that  the  natural  uneducated 
ear  prefers  the  "  gross  rough  major  second."  There  is  an  instance  of  it  in  the  West 
Riding  people.  The  hymn  "Christians  Awake"  (H.  A.  M.  6i)  may  almost  be  called 
their  national  hymn.  All  Christmas-tide  it  is  sung  in  every  church,  chapel,  or 
rneeting-house,  and  in  every  home  in  everj'  village.  It  is  played  by  every  itinerant 
fcand,  and  sung  by  every  company  of  carollers  or  mummers.  At  line  4,  bar  2  of 
this  tune  occurs  an  Att  leading  to  the  chord  of  B  minor  ;  and  wherever  this 
hymn  is  sung  without  accompaniment,  the  gross  major  second  is  always  substituted  for 
the  semi-tone.  I  have  noticed  it  for  over  thirty  years,  and  the  use  is  becoming 
traditional.  That  the  effect  of  this  interval  is  not  always  disagreeable  will  be 
evident  to  all  who  sing  Molloy's  pretty  song,  "  The   Clang  of   the  Wooden  Shoon." 

Other  peculiarities  connected  with  the  Church  modes,  such  as  tunes  beginning 
in  one  key  and  ending  in  another;  in  major  and  relative  minor  (51);  or  vice  versa 
(gg)  ;  modulation  into  unrelated  keys  (2,  53)  ;  endings  on  the  dominant,  or  4th  or 
2nd  of  the  scale  (102),  are  often  regarded  as  mistakes  of  the  singers,  whereas  they  are 
often  marks  of  antiquity,  and  found  in  the  folk-songs  of  all  nations.  But  variations  of 
tunes  are  frequently  due  to  the  errors  of  singers,  and  possibly  to  their  vanity.  There 
is   a   curious   instance  in  the   well-known  song  "  I  sowed  the  seeds  of  Love."     The 


•  Lectures  on  Harmony,  1877,  p.  40. 


xlviii. 

Midland  county  form  of  the  melody  is  given  in  ChappcU ;  the  Northern  form 
in  Northumbrian  Minstrelsy  ;  and  the  Western  form  in  the  present  volume  (108).  The 
tliree  versions  are  here  contrasted :  the  Devonshire  form  being  reduced  to 
common  time  for  the  sake  of  comparison,  and  the  extension  of  bar  10  {vUe 
song  108)  being  restricted  to  the  flourish  which  no  doubt  it  originally  wao. 


The  identity  of  the  tune  is  clear  enough,  but  the  variations  could  hardly 
be  greater.  In  No.  2,  phrase  i  begins  in  a  different  key ;  in  No.  3  it  ends 
in  a  different  key.  No.  i  repeats  phrase  4 ;  No  2  expands  it ;  No.  3  omits 
it.  In  No.  I  the  leading  note  is  avoided ;  in  No.  2  it  appears  as  an  embellish- 
ment ;   in    No.    3    it    is   changed  to   the   gross  major   second. 

Different  forms  of  a  tune  seldom  vary  so  much  as  this,  but  they  do  vary 
everywhere.  Dr.  Petrie  states  in  his  "Ancient  Irish  Airs"  tliat  in  collecting  them  he 
hardly  ever  found  two  copies  of  the  same  tune  precisely  alike. 

It  has  not  been  thought  necessary,  because  these  songs  were  sung  by  simple 
folk,  to  make  the  accompaniments  as  simple  as  possible.  Some  require  to  be,  and 
have  been  so  treated  ;  others  seem  to  demand  a  more  elaborate  arrangement. 
When  the  minstrel  of  old  days  sang  a  ballad  like  "Chevy  Chase"  of  nearly  seventy 
verses,  an  occasional  chord  to  sustain  the  voice  was  all  that  was  needed.  The 
interest  of  the  hearers  lay  in  the  story,  not  in  the  music.  But  when  there  is  no 
story  to  tell,  or  when  it  has  to  be  told  in  three  verses,  and  becomes  tedious  after 
four,  more  prominence  may  well  be  given  to  the  music.  Songs  so  widely  differing 
as  "  Brixliam  Town"  (9),  "Sweet  Nightingale"  (15),  "The  Rout  is  out"  (45), 
"The  Gipsy  Countess"  (50),  "Henry  Martyn  '  (53),  "The  Blue  Flame"  (67), 
The  Rambling  Sailor"  (87),  and  "  Bibberley  Town"  (no),  surely  require  very 
different  treatment  to  biing  out  the  poetical  character  in  the  melody,  and  to 
impart  seme  interest  to  the  accompaniment.  I  am  sure  that  this  is  also  the 
opinion  of  Mr.  Bussell,  whose  valuable  help  and  great  kindness  I  gratefully 
acknowledge,  and  to  whose  excellent  taste  and  musician-like  writing  the  following 
pages  bear  too  infrequent  testimony.  The  melodies  are  preserved  as  faithfully 
as  lay  in  our  power,  and  that  is  the  chief  thing.  They  are  far  too  good  to  be 
iDSt,  and  our  desire  has  been  to  present  them  in  a  form  acceptable  to  the  musical 
public,  and  in  which  they  may  hold  their  own  in  the  great  competition  for  public 
fa\our.  Should  they  fail  to  do  this,  they  have  yet  another  leg  to  stand  upon  ; 
and  put  in  their  plea  for  preservation  as  being  not  ephemeral  productions  (of 
whatever  merit)  ;  but  melodies  which  may  honestly  lay  claim  to  a  place  in  a 
national  collection  of  the  genuine  songs  of  the  English  people. 

H,  F.  S. 


Thurnscoe  Rectory,  July,  1891. 


.V<^  [ 


BY    CHANCE    IT    WAS 


0-\Hi)    -^muiiifily   .:  uifh  ixpressiun- 


H.F.S. 


M 


^E^gf 


SWS 


f-— r- 


f?     p         -q— 1    ^   =^ 


^ 


^-f^^^-^ 


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i 


B\     eh;iiiii'    it    Mas        I      met        mv    love,       It      did       nu'   much     snr- 


^ 


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T 


r — r 


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Down     by        a      sha  -  dy    m\v  -   tie  urovo    Jnst       as        (i)i'  siiii        aid 


-^H- *>- 


m 


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^^^ 


gjjia^MJ 


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1.'S^^J^*> 


i 


f^^ 


f 


f 


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i: 


^ElEEi 


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4 


ribu 


The      birds     they  sa no;    riuht  glo    -  riorisly       And      plea-saiit    was       the 


^S 


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J.^i= 


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OS 


i 


J      ;  J      ;  ir^  r      g 


ir  And      there        was    none  save      she  and        I,  A 


p  i  w.i3fi;v< 


jyoi.      "BY    CHANCE    IT    WAS." 


B>  fhancp  it  was  I  mt-t   m\  lo^c, 

It  did   iiR'   niiifli  surprise, 
Down  by  a  shad\    iu\rtK'  ;i,ro>i\ 

Jnst  as  the  sim  did   rise. 
The  birds  thcv  sang;  iig,ht  glorionslv. 

And    pleasant    was  the  air; 
And   there  was  none,   save  shi'  aud  I 
Amon^  the    Flowers    fair. 
2 
III  dewy  S'"^ss  and   green   we    vialk'd, 
She   timid    was  aud  coy; 
"Hum  ean'st  thou  i-hoose  but  pity   nne, 
My   pretty   pearl,   my   joy? 
How   comes  it  that   thuii   stroH'st  this 

Sweet    maiden,  tell    ine  true. 
Before  hri<i;ht    Phuei.us'   glittering  ray 
Has  supped    the   morning  dew?" 
3 
"I   go  to  tend   the   floeks    I   io\e 
The  ewes  aud  tender  la;ubs. 
That  pasture  b\   the  m\rtle  grove, 

'rh\t    gamlioi    by  their  dams; 
There   I  eiijo_\  a  pure  content 

At  dawning  of  the  day." 
Then,  hand   in    hand,  \\e  lovers  went 
To  see  the    flock  at    pli\. 
4 
And  as  Ml-  wended    doMu  the   read. 

I  said   to  her,  "Sweet    Maid, 
Three  years    I  in    iii\    place  abode 
And  three   more   must   be  staved. 
The  three  that    I  am  bound  so  fast, 

()   fairest    wait   for  me. 
And    when  the  wear\    _\ears  are   past, 
I'hen    married   we  will    bel' 


Ma\ 


Three    \ears  are  long,   three  times  too    long, 

'I'<io   lenijthv   the  delay'.' 
0  then  I  answered   iu   m\   song. 

"Hope  wastes   them    quick  awa\. 
Where  love  is  fervent,  fain    and  fast, 

.Vnd  knoweth   not  decay. 
There   nimbly  fleet   the  seasons   past 

Accounted  as  one  day:' 


P  «  *.  Hi.  t  ' 


,y92. 


THE    HUNTING    OF  ARSCOTT  OF  TETCOTT. 


H.F.S. 


Wtth 


N — V- 


>N;  ;  ;  >  j^ 


^^ 


^ 


t^rmr 


^T^ 


of    No-vem-ber,  III  tni'  \o;ir  iif-ty-two;Tliivi'  jol  -  ly    fox-huut-ers    all  Soiisof  (lioRliie.^. 
o'er  from  Peudtrrow.not  foariii<;    a    \\A  coat,    'lo     havx'  soiin' di   -ver  -  sioii  with  Ai-s.-ottofTod-olt. 


fol-  de-ri)l,     liil- de -rill,    Jul  -  de  -  rol       Jul  Sins,  f"'       "^^        ■""'      '"'     ^^     '^'''     '"'       '''=      ■""'      '"'■ 


*J       r^i     j„    -..I     i,.i    .1..  .„!    i„i    J., I     i,,i.      G;„„-    r.A    j„_,r,i     i,.i    J.>  -„i     ui 


=r^ 


=*4: 


fol-de-rol,   lol-tle-rol,  lol- de-rol,  lol;     Sinj^,  fol-de-rol,   lol-de-rol,  lol-de-roj,  lol;  Came 


^ 


1'    .^    ^    ^    J 


^    N    N    K 


J  ^'  i^j'j'j'Jii 


g  g  g  ;  g  p-^ 

I'er  from  PeDcarrow  not    f(?a 


J      ^       j" 


# 


o'er  from  PeDcarrow  not    f(?ariiiif    a    wet   coat.  To  have  some  di  -  ver-siou  with  Arscott  ofTetrott 


W 


* 


3^^ 


S 


* 


Wf 


m 


-TT* r 


.// 


^        r 

%  The  sm^ll  n'llf-i  m.iv  I'f  ^'i">;  if  itn"  ulln-rs  tn-  tm.  Iii^h. 


,\y  2.     THE  HUNTING  OF  ARSCOTT  OF  TETCOTT. 

(1652) 
1 
Ii]  tlu'  niuiith  uC  Novembi'f, ill  tin-  u-ai-  riltv-twu, 
Thive  jolly  Fox-hniiters,  all  Hoiisol' the  Blue, 
C.irne  o'er  frum  Peuearrov.uot  fi'aritij;uwe(  cu.it , 
1^0  have  some  (li\ersioi)  ^\ith   Ai'si-ntf  un'tt'dtt. 

Siii<;-,  Fol  da  rol  de  rol,  lol  rie  rol  iol 

Sill" ,  Ful  fie  rol  de  rol,  lol  de  rul  lol  fol  lul . 
Came  o'er  Crom   Pencarrow,  not  f" uriuj;  a  «et  eoat , 
To  ha\e  Some  diversion  Mith  Aiseott  of  Tetfott. 

2 

The  daylight  Mas  rLm  iiiii<i,  rij;ht  radi  ui(  flio  morn, 
Wheu  Arseott  of  Teteott  he  Minded    his  horn; 
He  hleM  siieh  a  flonrish,  so  loud  in  the  h  ill, 
The   rafters  resounded,  and  danrcd  to  thr  c.ill. 
Siii^,   Fol  derol  de  rol,  &e: 
3 
In  til''  kill-hen  the  servants,  in  kennrl  the  hoiinrls, 
lu  the  stahle  the  horses  were  ronsed  by  thi' sounds, 
On    Black-Cap  in  saddle  sat   Arsi-ott  ,"To  day 
I  will  shou    \ou  <^ood  sport,  lids.  Hark!  I'oIIom,  away  ?" 
Sin'^,    Fol  de  rol  de  lol,  &e: 
*  4  :;■,;  5 

They  tried  in  the  eoppiee.Croin    Beeket  to  Thorn,  i '■H:irk,\'iiliMn!'s  lid  Arscott,"Thebest  ol'^ioodhminds.' 

There  were  Rin}i;wood  and  Rallv.aud  Prineess  and  Seorn    H^■iiih,^enlls.''■he  shoiited,"Hi.\\  nimbly  she  Iwnndsf 


Theu  out  bounded  Reynard,  away  they  all  went, 
With  the  wind  in  their  tails,  od  a  beautiful  scent 

Sing,    Fol  de  Pol  de  rol ,  &f: 
6 
They  hunted  o'er  I.iUon*,  oVr  field  and  on  moor. 
And  never  a  hound,  man  or  horse  would  *jivetfer. 
Sly  Heyuard  kept  distance  fm-  iuan\  a  mile. 
And  no  one  dismounted  for  <j,ate  or  for  stile. 

Sing,  Fol  de  ml  de  rol,  tc: 

H 

Thro'  Whitstoneand  Ponnilstoi'k.St  Gennys  they  rui 
As  a  fireball,  red,  in  the  sea  set  the  sun. 
Theu  ont  on    Penkeuner  — a  leap,  and  they  go, 
Full  five  hundred  feet  to  the  orean  below. 
Sing,  Fol  de  rol  de  ro|,&c: 


And  nothii.g  re-echoes  so  sweet  in  the  valley, 
As  the  music  of  Rattler, of  Phil-pot, and  Rally;' 
Sin^,  Foi  de  rol  de  rol,  &cr 
7 
"How  firdovoii  mikeit?"said  Simon, the  Son 
"The  day  th.it's  deidining  m  ill  shortly  lie  done'.'^ire 
"Wii'll  fulluu  till  Doom's  U  ly," 4110th  Arscott.-Be- 
Tlie\  hear  tile  Atlantic  with  menacing  roar. 
Sing,  Fill  de  rol  de  rol,  &c; 
9 
Wlien  the  full  moon  is  shining aselear  as  theday. 
John  Arscott  still  hnnteth  the  country,  tlv)  say; 
^ou  may  slv  him  mi  Bl:irk-C'ip,and  hear,in  full  i-ry 
The  pack  from  Peiicarrow  to  Dazardgoby- 
Sin<4,  Fol  de  rol  de  rol,&c: 


10 


When  the  tempest  is  howling, his  lnoii    ym  may  hear, 
And  the  ba\  of  his  hounds  in  their  headlong  career; 
Fur  Arscott  of  Teteott  loves  hunting  so  well, 
That  he  breaks  for  the  pastime  from  Heaven  —  or  Hell. 
Sing,  Fol  de  rol  de  rol,  &e: 


In  sinfjinK.  the'^e  verse-    m.ty    be  umittfd,  fi)r  shurlness. 


P  t  .V.  l.Thil.' 


Upon  a  Sunday  iyiorning. 


^^.^. 


H.F.S. 


Up  -  00       a  Snuday    morning,       when  Spring  was    iu         its    prime,  A- 


(TH"  cn- 


m 


*?  :    *- 


^ 


"}■'»  [' 


f 


:ai 


-lonjj       the      Chnich      line    tripping,  I        lieird  the  church  hells  ehime; 


7^ 

And 


i 


«= 


^^^ 


g=^=;  ^    M^:^ 


# 


there      e  u -ion  u  tend    Ren-beo 


As-tride     a  -  cross      a      stile, 


He 


S 


^^^ 


^: 


i 


i 


a==«» 


*:qs 


I'    ^     I    I     J.       il 


^=sZ 


block'd       the  way,    so         san  -  c\. 


Pi*.  1^f•■^■'. 


JV'?-^.  UPON  A  SUNDAY    MORNING. 


Upon  a  Sunday  morning,  whf?n  Spring  was  in  its  prime. 
Along  the  Church-lane  tripping,  I  hnar-i  the  Church-bells  chime, 

And  there  encountered  Reuben,  astride  upon  tli"  »*ile. 
He  blocked  the  way,  so  saucy,  upon  his  lips  a  smile. 

2. 

Upon  a  Sunday  morning,  ther"  came  a  ru'sh  of  bells. 
The  wind    was    music-laden,  in  changeful  falls  and  swells; 

Hh   would   not    let   me  over,  he   held,  he  male  me  stay. 
And   promise   I    wouii    meet   him    again  at  close  of  day. 


Upon  a   Sunday   evning,  the  ringers  m  th-  tower. 
Were     practising  their   changes,  they    rang  for  full  an  hour," 

And    Keub'-n  by  me  walking,   would  never  let   me  go, 
Until    a  Yes    1    answered,  he  would   not    take  a  No. 

4. 

Again   a  Sunday   morning,  and  Reuben  stands  by  me. 
Not  now  in  lane,  but  chancel,   where    all  the  folks  may  see. 

A  gold-'n   ring  h**  offers,  as  to  his   side  i  cling, 
0  happy  Sunday  morning,  for  us  the    Church-bells  ring. 


p.  f    W.  I3«.1J 


JSr9  4. 


THE   TREES    THEY    ARE    SO   HIGH 

#--112   Plaintively.  . ^ 


H.F.S. 


'^      ¥T^ 


»  »'  M. 


^^ 


/kMF£gglcjJcl 


W 


^ 


s^ 


jgPtg^ 


^^g^^g 


r — f   T-  f' 


i 


i= 


J  ;J  ;ir   ^  r    r'^    ^^^ 


J  ;ii  ,j   -^ 


i 


leaves  they  are      so     green  The  day      is  past  and  gone,  sweetheart  That  yon    and  I    have 


i 


^ 


^-T-^ 


^^ 


ife 


t*: 


^ 


*=1ite 


^g 


^^ 


•Ki'  >•      >: 


3? 


p  F 


F 


P^^ 


r 


rr=r 


r 


i 


g-i      r      i;    ^ 


^ 


f,  ;  tg^ 


f 


?=?^ 


^ — ^ 


^=^ 


cf »^ 


t       IS     cold 


winter's    ni^rht. 


Yon   and   I       mnst     bide    a 


^ 


^^ 


P 


f 


^^ 


11 


f 


^f^T^ 


^ 


^ 


^ 


^^ 


rail. 


Whilst   my    pret-ty  lad       is     yonn":  and    is     ;^row 


ing 


O 


r     V 


^ 


* 


? 


iJ^;^ 


P  i  *.lS6r»-' 


.r?4.     THE  TREES  THEY  ARE  SO  HIGH, 


All  till-  trees  the\  are  so  hi^h, 

IMie  li';i\es   thev   ;»re  so  y;i\en, 
Tile  fl;i\  is  |i:ist  ;ind  ^oiie,  sweet-heart, 
Th;it  \iiii  ;iii(l   I  have  seen. 
It    is    i-(iM  w  iiiti'i-'s  iii^ht, 
YoM  aiul  I  Millet   liide  aluue: 

WliiUt   iin   |'ivlt\   lid  is  _\oiing 
And    is    "^i'"\w'ii!^. 

2 
In  :i  garden  as    I    \>  ilked, 

I  heard  them  lui^h  anrl  call; 
There  were  foiir  and  tN\eiit\    pla\injl'  there, 
Tle\    |)la\ed   with  bat  and    hall 
()  tile  rain  on  the  roof. 
Here  and   I  must    make    my   moan: 
M  hilst   iiu   |jrett\   lad  is  \oiiiijj 
AnrI  is  iji'ou  in<r. 

3 

I  listened  in  the    garden, 
I  looked  o'er  the  wall: 
Amidst  fi\e  and  twenty    gallants   there 
My  lu^e  exceeded  all. 

O  the   wind  .lu  the  thatch. 
Here  ,arid   I  alone   mnst  weep- 
Whilst  my   pretty   lad  is  young; 
And  is  growing;. 

4 
()  father,  father  dcr 

(ireit   w  riiiiii'  tn  mc  is  done, 

'I'liat    I    shi/iild    m  irried    he  this  dav. 

IJel'ore  the  set  el   still. 

At  the  hnffle   of  the  g.ile. 

Here  I  toss  and  can  not  sleep: 

Whilst   my   pi-etty    I. id  is  young 

And  is  growing. 


INIy  dan<,:hter,  dairijhter  dear. 

If  better  he,   mure   fit, 
I'll  send   him  to  the  c-mirt  awhile. 
To  point  his  pretty  w  it. 

Bnt  the  snow  ,  snoM flakes  fall, 
()  and    I  am  chill  as  dead: 

M^'hilst   mv    pretty  lad  is  yonng 
AikI  is   "ii-owing. 

"  To  let  the   li.vely  ladies   kio>\v 

They    ma\   imt  touch  and  taste, 
I'll  liiiifl  a  Iniueh  of  rihlions   red 
About   his  little  waist. 

Bnt  the  raven  hoirselv  croaks, 
And   I  shi\er  in    my  bed; 

Whilst  m\   pretty  lad  is  yonng 
And   is  growing. 

7 
I  married  was,  alas, 
A  I,idy  high  to  be, 
lu  foiirt  and  stall  and  stately   hall. 
And  bower  of  tapestry 

Bnt  the  bell  did  onl\    kncll. 
And   I  •.hnddered  ,is  one  cold: 
"U'heu    I  wed  the   pretty   lad 
Not  done  grow  ing. 

8 
At  seventeen   he  wedded    was, 

A   fither  at  eighteen, 
Atnineteou  his  face  was   white  as  milk. 
And  then   his  gra\e  \>as  green. 

And  the  daisies  \\i're  outspi'ead. 
And   bnttercnps  of  gold. 

O'er   m\    pi'ettx   lad   so  young 

Now  eeasefl   growing. 


mtv  bt-  oiniirfd   in    niiifjin^. 


P  4W.  I.KH-; 


l(t 


PARSON    HORG. 


^'fJ5. 


•  •-  SS.  Boldly 


H.F.S. 


^|l^jNl^\|N^,^|^a 


^f& 


/p    f 


r  1.  p  f 


r_rin|¥--f 


i 


^  '     > 


H 


ores.- 


'>^^"=^ 


pf^.  r  J   ;IJ  J-n^||      I   ji  I    I  J    hJ    r 


^^ 


uow  maintaiu  The   bnrdcii     of      my    song    Sirf    A      sin-gle    life    per-forie    he   led     Of 


m-fU\i:iit^      I'      iMi 


■^  r  r  ;  ^  ?. 


j=^ 


i 


«.*: 


g^ 


:S 


3   » 


;  I  j  ^  J  ^ 


con-sti-tn  -  tion  strong  Sir  Sing  tal  -  Iv     ho!  sins:   t;il-lv    ho.'    sing    tal  -   1>    hoi  why 


i'UUn 


m 


^M 


m 


H 


-'-it 


^ 


— V- 


^ 


i    i  i    jlj     J 


1 1: 


*   i  5 


^ 


-V 


\    I 


3S3 


heJ 


i 


^ 


J  J  j  ^ 


zoamls    Sir?    He    monnts   his  mare    to    hunt    the    hare, Sing  tal  -  ly     ho!   the  hnnnds  Sir. 


p  i  '.V. nsi  > 


11 
JV.Q  .5 .  P  A  R  S  0  N     HOGG. 

1 

Miss    l*;ii;>iiii    H'i<4<i-  sliLill  rj(i\>    inaintaiu, 

Tin'  biii(K'ii  ul    iiM   SIIIIU-,  Sir, 
A  siii^li'  life,  pct-roi-cc  he  lud, 
or  coiisliditidii    .tr'oiiji,  Sir. 

Sill-    tail\-lio.'  siii-,t.tll\4io.' 

Siii<i,  ( ;iil\ -ho.'    wh\    zorinds  sir. 
Hi'  inoniils   his    inne.ti)  hiiiil    the  hire 
Siujj'   talls-hii.'  'he  huiimls,  Sir . 
2 
AimI  eM'r\    (l,i\   he  i;oes  to    AI:tss, 
He  I'ii-st  fli.iws  uii  the  bout,  Sir, 
'rh:it  shoiilfl    the  be.i^les  i-him-e  to   jjiss, 
He  iiiit;li(  join  in   pursuit ,  Sii-.' 

Sill'.i,    t;lll\-ho!    vie. 

3 

Th;it    P;irsoii   littli    lovedi    (iraver, 

Ami    Pdter.  iii'^lit  aiifl   morn,  Sir, 
F'or  hell  anil    book,h,iih  little  care 

Hilt  (le;irl\  lo\es  the  lioin.  .Sii-. 
Sins  till\-hu.'  icr . 
4 
S.  Stephen's    l)i\,this  holy  man 

He  went  a   pair  to  ued.  Sir, 
When  ,is  the   St'i-\  ice  he  be'^an 

Puss  li\   th  •   ('hiircli-\.inl  sped.  Sir. 

Siiiu-   tall\-l'o!    !<cr. 
o 
He  shut   his   book,  come  on  he  s.iid, 
111    pi  IV   and    bless  no   more.  Sir, 
He  <|ie\\    his    surplice  o'er  his  he, id 
And   started    for  the    door,  Sir 
Sinu;  fall)- ho!    Act-. 
6 
In   piil|)it    P.irsoti    Ho^o    v:,j;  sti'ony;. 
He   pre.iched    withoiit    i  book.  Sir, 
And  to  the  point,  and   never  loiiy;, 
.Viid  this  the  text  he  took.  Sir, 

"()  talI\-hof    0  tall\-ho.' 

Dearl\    beloved  —    zounds.  Sir 
I  mount    m\    mare  to   hunt    the  hare. 
Singing  t  ill\-ho.'   the  ho,inids.  Sir?" 


P  £  *.ISfi,v; 


]  ■; 


XOLD    BLOWS   THE  WIND  SWEET-HEART" 


.VP  6-. 


H .  F.  S . 


^ 


}~  \f    ^^ 


/n  rn^ 


•aiii;    .    .   .  The     ve  -  ry   firit   love  that 


Chime    ■*■ 


^         V 


4^^-^^^^^ 


?*'t=p 


F^  J  nj 


.J     'll    J  • 


EnHinK  fur  Verse  10^     '      V  j^V^ises  11  c£12 


m 


^ 


p 


ever    I   h;id,    In        §^reeu-Mood    he     was      slain! 


h'  ni  .  fi 


lOBg 


^=^^^^ 


^ 


o 

w 


No\( 


^ 


Chime 


^Wi 


« 


M 


^m 


i 


^. — ^- 

.4  little  fusttr 


i. 


If*^ 


*nr^ 


:j     Jm 


^m 


m 


m 


m 


*  I       have  moarn'd   op       on        his   grave    A    twelve-month    and      a        day; 

"»    I        s     \ ^ ^- 


111. 


p  s  ^(.i.i(i-,r.> 


13 


.Y96.    "COLD    BLOWS  THE  WIND, sweet-heart: 


"Cold  hlows  tlu'   wind  (ifiii'^ht,  SMei't-hcait , 

Cold  are  the  drops  ol'raiu; 
Tile  very  first  love  tlmt  evn-  I  hid  , 
In  green-wood  he  was  bliiii. 
2 
I'll  do  as  ranch  for  m\   trae-love 

As  any  fair  maiden    may; 
I'll  sit  and   monrn  npon  his   j^iave 
A  twelvemonth  and  a  day." 
3 
A  twelvemonth  and  a  day  beinj^  np, 

The  ghost  began  to  speak; 
"Why  sit  you  here   by  my  grave-side 
From  dusk  till  da\\ning  break?" 
4 
"()  think  upon  the  garden,  love, 
Where  yon  and  I  did  walk. 
The  fairest  f|o\^eI•  that  blossomed  (here 
Is  withered  on  its    stalk" 
5 
"What  is  it  that  yon  want  of    me, 

And  will  not  let    me  sleep? 
Vonr  salteD  teai's  they  triekK'  down 
My  Minding  sheet  to  steep'.' 


+ 


* 


11 


"Now  I  have  monrued  upon  his  gravi 
A  twelvemonth  and  a  day  . 
I'll  set  my  sail  before  the  wind 
To  Haft  me  far  away. 


"Oh    I  «ill   now    redei'm   the   pK-dge 
The  pledge  that  onee   I  gave. 
A  kiss  from  fjfC  th\   lily    white  lips 
Is  all  of  yon  I  erave" 
7 
"Cold  are  m\  lips  in  deaf li, sweet-heart. 

My  breath  is  earthv   strong. 
If  von  do  toneh  m\  clay-eold  lips. 
Vonr  time  will   not   be  long!' 
8 
Then  through  the  monld  he  heaved  his  head, 

And  through   the  herbage    green. 
There  fell  a  frosted    bramble  leaf, 
It  came  their  lips  between. 
9 
"Now  if  yon  were    not  trne  in    word. 

As  now   I  know  yoa  be, 
I'd  tear   vou  as  the  withered  leaves. 
Are  torn  from  off  the  tree. 
10 
"And  well   for    yon  that  bramble-leaf 

Betwixt  our  lips  was  flnng. 
The  living  to  the  livin'j-  hold. 
Dead  to  the  dead   belong." 


+  ^ 


^ 


12 


"I'll  set  my  sail  before  ih^'  wind. 
Ere  comi's  the  break  of  day, 
111  seek  another  lover  new. 
And  change  my  roundelay." 


f  i  W.l:\t;.»-.' 


14 


FLOWERS    AND    WEEDS 


JV?Y. 


H  FS 


^ 


hluintmelif  0  -  106. 


I*         "^       I*- 


stEferJ/cr/ir^ 


P 


m.  rri 


^^ 


^^^^^^|J      }    ^  >\ .        ss^^: 


^ 


^1 


±; 


^^ 


*     * ^ ^ 

III    my     g;ar(liMi  jirew  pli'iity    of   Thymu,        It  wiuild   flourish  l)\  nijiht  and  l)\     day       .  O'er  the 


J=^ 


^ 


^^ 


E§j^ 


^j 


>F    9  .  ^ 


?■ 


rr 


r^TF 


•-= — »■ 


rail 


(<  mpo 


wall   canK'  a    lad,  Hi'  took   ail   that  I    had         And  stok'    my    thyme     a    -     way.  And 


I 


p  nil   ^^11    3 


-r — ^rr^ 


stok'    m\  th\rai'    a    -     way. 


p  4  « .  1 .1  fi  3  •; 


IS 


M91.      FLOWERS  AND  WEEDS. 


Ill    m\    j^.irdeii  fi^rew    plot:tv  of    'l'li\iiu\ 

It    uuiilfl   fluiirish  b\  iii^ht  and  li\  ii.i\. 
O'er  the  M.ill  c.uno  a  I;uI.  he  to„k  jII  thi(    I   Ind , 
And   stole    m\    tliyiiu-   ;i«.iy. 
2 
My   garden    uitli    heartsease   uas   lii-i^ht. 

The  pMis\   so   pie'd    and   so    '^av  .■ 
One  bli|j|)ed   through   the   Ji ate,  and  alas?  cruel  fate, 
M\    heartsease   took   awa\. 
3 
My  ^ATih'W   Ji'rev*    self-heal   and   halm. 

And   speedwell    tliats'  liini'    Inr   an    himr, 
Theu   Mossdiiis  a^^ain,  ()   j^rieMxis    n\\    piiu! 
I'm   phindered  of  eaeh   flu\ier. 
4 
There   liidus    in    iii\     {garden   the     rue. 

And    Lo\e-lii>s- a- bleedinj;  diuops  (liere. 
The    h\ssop  and    m\rrh,the   teazle' and    burr, 
In    place   of    iihissoms    fair. 
5 
The  willow   with   br.mclu's  that  weep, 

The  thorn  and  the  c\  press  tree, 
O  why    were  the  seeds  of  dolorons  weeds, 
'I'has  scattered  there  by  thee? 


PS  w.is«.ii 


le. 


THE     ROVING     JOURNEYMAN. 


^V.^  8. 


H.F.S. 


J. =  84 

Boi-iiu.  r— -«. 


^ 


^ 


acj: 


^ 


^ 


s 


^33^ 


^ 


^ 


« — — •■ 


rtj 


y^/if  ;f  f 


^^ 


it*=4 


i 


i 


i^^:^ 


^S 


r   *?  I*  iri 


^^s^ 


Yljnng  Jack     he  ^^as     a       j<)iiriii\  man, That 


i/^F-?^'t'~^ 


f 


$ie*i 


a 


ii 


^ 


^ 


I 


I 


^ 


r  rr    i 


i 


^ 


^ 


p^ 


f 


nr-*- 


rov'd     from  to«ti      to        town;    . 


Atifl       mIiop     hi'VI     clone       a        job        of   «ork.   Hi; 


^^ 


i^=^.rij.     r 


-# — -•- 


^ 


-* *- 


.rfir.gr"; 


= '    ^  . * r — ' ^ — I r-" — i v^ — (— — ^  '   \ f- — f ^ 

li^htlj    sat     him  down.  With      his    kit       np-on     his    shonlffiT  And     a     grafting  knife    in 


H^ii\^^ 


^^^ 


^ 


^ 


«    ■ 


"i^^jF^* 


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hand;  He      mvil     the    conn-try   ronnd     a-Lont,    A       mer  -  ry     jonr-ney  -  min . 


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17 


JV^S.      THE    ROVING    JOU  R  NEYIVI  AN 


\'(iiiii<;    J;ii'k  Hl'  «as  a  j(){irn>'\  iiiui 
'I'liut  roM'il  from  town  to  tipwn, 
Aud  mIumi   hi''(l  doiK'  a  jiili  <ii   ^^'iik, 

He  lij;Iill\    s.;it    him  ilnw  n  . 
With  his  kit  npon  his  shonldir,  and 

A   si;rartin"     knife  in    himl, 
He  ro\ed  the  coiintr\    rotind   ahunt, 
A    rneiT)    juMrnr\-man. 
2 
And  when   he  came  In    Exeter. 
The  maidens   le  iped    for  joy; 
Said   one  and  all,  liofh   short  and  tall. 

Here  comes    a  ijaliant    hoy 
The  lady  dropt  her  ueedle,  and 

The    maid   her  I'ryinu-paii 
Each   plainly   told  her  mnther  that 
She    loved    the  joiirnry-man. 
3 
He  had   not    been    in    Exeter. 

The   da\s   were   barely    tliree. 
Before  the    \1a\oi-,  his  s^veet  daiij;hter. 

She   loved   him  di'sperately ; 
She  bifl   him  to  her   mothers  house, 

She   toiik    him    l)\    the  hand. 
Said  siie,"M\   deari-st    mother,  see 
I    luve  tile   journey -III  in?  " 
4 
Now  iMit  on   thee,  thon  silly   maid! 

Sueli   folly   speak  no    more. 
How  iMirst  thon  love  a  ro\iuu;   man. 
Thon  ue'er    hast  seen   before?  ' 
"()  mother  sweet,  1  do  entreat, 
I   love   him   all    I  can; 
Aronnd   the  eoiinlr\    '^ilad   I'll    ro\e 
"With  this    \oiin'.;  journey  man. 
o 
He  need    no  more  fo  trndfie  afoot. 

He'll   travel  coach  and    pair; 
My    x\ealth    with    me  —  or   po\erty 
With    him.  content   I'll  share'.' 
Now   fill  the  horn   with    liarleyi'orn. 

And   flowing   fill   the  cau: 
Here   let  ns  toast   the      Mayor's    danghter 
And  the  rovinji  jonrueyraau. 


P  4  *.  ^^n^■' 


18 


B  R  I  X  HA  M     TOWN 


J^9  9. 


H.F.S 


d~  100. 


fe^ 


All 


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*      *        *    z=Mz 


\^'  that     love     to 


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f  f  f ^ 


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Mu   -  sic    fiLT-furm'd    in 


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Pi*   Hfi.l  ! 


19 


J>r9  9.     BRIXHAMTOWN 


1 

All  ye  that  lov,-  to  h^-ar 
Music  pertormed  in  air. 
Fray   list'^n.  and   giv*:?  ear, 

To  what   I  shall    perpend . 
Concerning   music,   who'd,  — 
-If  rightly    understood  — 
"Not  tind  'twould  do  him   good 

To  hearken  and  attend. 
2 
In    Brixham   town  so  rare 
For  singing  sweet  and  fair, 
Few  can  with  us  compare, 

We  bear  a-vay  the  bell. 
Extolled  up  and  down 
By  men  of  high  renown. 
We  go  from  toivn  to  town; 

And   none  can  us  excel). 
3 
There's    a    man   in    Brixhain  town 
Of  office,  and   in    ayttu. 
Strove  to  put  singing  down. 

Which   most  of  men   idore. 
For  House   of  God  unmeet , 
The  voice  and  orpan  sweet.' 
Wh«!n  pious  men  do  meet, 

To    praise  their  God   before. 
4 
Go  question    Holy   writ, 
.4nd   you  will  find   in  it. 
That  seemly 'tis  and  fit. 

To  praise  and   hymn  the  Lord  . 
On  cymbal    and  on   lute, 
On    organ   and    on  flute, 
With  voices  sweet,  that  suit, 

All  in  a  fair  concord  . 


In    Samuel   you   may   read 
How  one  was  troubled. 
Was  troubled  indeed. 

Who  crown  and  sceptre  bore; 
An  evil  spirit  lay 
On  his  mind  both  night  and  day. 
That  would  not    go  away. 

And    vexi'  )    him   very  sore. 
H 
Then  up  and  uttered    one. 
Said,  ".Jesse   hath  a   son, 
Of  singers    next   to  none  ; 

David    his  name  they  say  " 
"So  Send  for    David,  fleet- 
To  make    me    music   sweet. 
That  the  spirit   may  retreat, 

A  nd    go  fro  n    me  away :' 
7 
Now   when    that    Divid,  hi 
Kin«   Saul    had  coine  to  see. 
And   played    merrily- 

Upon   his   strinf^ed    harp. 
Th-;  Devil   in  all  speed. 
With    music  ill  agreed. 
From  Saul   the    Kint;,   he   fleed. 

Impatient   to  depart 
8 
So  now,  my  friends,  adieu! 
I  hope  that  all  of  you 
Will   pull  most  strong  and  true. 

In   strain  to  serve  the   Lord. 
God  prosper  us,  that   we. 
Like  anjels   .niy  a»ree. 
In     sinking  merrily 

In  tune  and   in    accord. 


F  iw.  r.\fi.^? 


20 


BROOM     GREEN    BROOM 


Ay  10. 


H.S.R 


=  80    hhty/ully. 


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There      was       an       old         man  liv'd    out      in      the    wood,       His 


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trade  was     a      eat  -  ting     of  Broom  g'reen  Broom,    He      hid     Imt      one      son,    with-oat 

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in       his     bed     till     'twas     noon,       bright    noon.' 


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21 


X?10.     GREEN    BROOM 


1 

ThriT  WIS   ;ill  old    III. Ill    liu'd   iiiit    ill    the    winid. 

His  h'.ulr    Was  ;i-<-ii tt i ii'^  nj'    liiimni.    ^rcii]    BriMini; 

Ho   li  1(1    liiit   olK'   sun    withmit    tliiilt,    wil  limit    ^'jod, 
Wliu  lay    ill    his   l)ud   till    tw. is   nnmi,  liii^lif    noon. 

2 
Tlu;  old    mill    auoke,  one    mornin<;    nid    sjiokc. 

Hi'  sv\oic  hi'  would    fire   the    room,  tint    room, 

ir    his    John   would    not    riso  and    open    his  eyes, 

And   awav    to   the   wiiod    to  cut    Broom,   u;-i"i'iMi     Broom. 

3 

So  Johnny   arose,  and    he   slipju'd    uii    his    clolhes, 

And   a\\a\    to  the  wood    to  cut    Bi'oom     ^rei'ii     F?rnom, 
He  sh.i  r])''ned    his    knives,  for   once    he  contrives 

I  o  cut  a   ^reat    liniidle   of     B  moiii ,  '^i-eeii    Broom. 

4 
When    Johnny     passed   under  a    l.idy's    line    house- 
Passed  undei-  a   lady's   fine  room,  fine   room. 
She   ealle(l    to   he|-    maid,  "(to   fetch    me,"    she    said. 

"(ro  letch    me  the    hoy    th.it    sells    Broom,  ;:;reeu    Broom 

5 

When    Johnny    came   into  the    l.uU's    fine   house, 

And  stooi]   in   the   lad\'s   fine  room,  fine  icMim,- 
'Yoiin<4    Johnny,"  she  said,  "Will  yon  iiive  np   \oiir  trade. 
And    marry    i   lad\   in   hioijm  ,  full    Moom?" 

H 
Johnny    'i»vi'  his  consent,   and   to  church   they  both    went. 

And    he  wedded   the  lad\    in  bloom,  full   bloom. 
At    market   ami    fair,   all    folks  do   declare. 

There  is  none  like  the  Boy  that   sold   Broom,  green  Broom. 


f  1  *.l;<ti.v> 


•)'> 


X9  II 


AS     JOHNNY     WALKED    OUT 

,  Fur  4  VtJi'ces. 

J  •  =  72.GrurtfuUy  &  -with  txj>rcssi<in. 


H  F.S. 


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Johii-uy    walked 

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val  -  ley  lo\e, Where  the 


wa  -  tiT     gli-deth 

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down       in       yon  -    der 


val  -  lev  love.Where  the 


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P  t  W.H63-; 


23 


^Pii      AS    JOHNNY  WALKED  OUT. 


Ab  Johiiii\    wilki'd  'till  iiiii' day 

It  \\M^    i  Sinn  incr   liiur'ii , 
Himsi'lf  hv  hiid  beiieitli   tin-  sh;idi' 

All  of  .1  twisti'd   thorn  , 
AihI   .is  he  tluTi'  l;i\  lazily 

A   shi'jili 'iflobs   puss'd   liy 
And'tvMiS)   d<iwii    in    \"iiiK'l'  \  ;ilK'\ .  luvc  , 

WlnM-f  til'    M.itci-   glidrtli  b\  . 
2 
'()  hi\>'  \oti  seen  d  ()i-i'tt\  I'Wi- 

Tlhit   hitii  a  tiMidcr  l.imli, 
A  stiM\i'd   fium  tlir   miliard   jllidc 

Tilat   little  Hin-     iiid   (I  nil  '{" 
"()   pri'ttv    uKiiil    ill'    iiisMiMi'd , 

'l'hi'\  [),ibsi'il   as   luTi'    1  111'!" 
Aiid'tw.is    (liiwri    ill    \uihK'r    \  ;ill('\  ,  love, 

WluTr  tlu'    water    ^.lidetli   I)}- 

SliL'   waiidt'iiMl   u'er   the   cuiiiitrv   wide 

Till"  shoe))  she  ettiild   imi   ("ind; 
And  miiiv   tiiiub   she  did  upbraid 

VtJiiMij    J'lhiinv    iu    her    iiiiud. 
She  Noiiirht    in    le  ii\    forest    j^reeu 

She   siiii^ht    tlhm   low    and    hij;h, 
And  'twas  down   in    Mjnder    valle\,lo\e, 

Where    the   water    "lideth    li\  . 


"Oh  sill\    maid,"  yiiui',^    Johnny  said 

"Alone   wh\    did    ym   seek?" 
Her   heart    ^^as    full    of  aii',;fr,  a  iid 

The    flush    \\as   in    her   cheek 
Where   one  alone   a\aileth    nut. 

There    Iwo    \iiiir   sliee|i     in  i\    ^pie, 
Aiui'tis   low  11    111    \iinder   \  a  lle\  ,  loX  e, 

Where    (he     .^aler    •illdelh    h\  '.' 

Then  lo?tlie\    both    foi-'^ot    their    ini'st 
Thev     fniiiid    what    iieitlier  suN;;ht, 

Two   liiiiiiii    hearts   lon^    ki'jit    apart 
Tir^elliel-    iiiiv.     Were    brought  . 

He   found  the  words    he  joie^  had  lacked. 

He   round    and   held   her  e\e  : 
And't\\as  do\wi    in    \  under   \  alle\ ,  l<ive  , 

Where  the-'water   ^lideth    by. 
-"■6 
Now    married   vi're  this  lo\i;iu;   pair. 

And  joined  iii  hol\    band, 
No   more  th('\    jjo  a  seekiiej;  sheep. 

Together    hand    in    hand. 
Aioiind   her  feet    |)la\    ehildren   sweet. 

Beneath    the    snmnier    skv 
And  tis  down   in    \onder    \alley.  love. 

Where  the  water    -^lideth  b\  . 


# 


TIi*'st-    \ersrs    iii^v    br  'iiiiitled    in    -^inf^int; 


p  t  ff.  l^(^^^ 


24 


THE     lYI  ILLERS'  LAST   WILL. 


J^'9  12. 


^ 


m 


r   r   r    r  ^   r    'i   ^ 


HarmoniS'-'i  by  F.W.Bussell 


im 


Tficr^'    \\Lis     a     rnil-ler    as     \ou    shall  hoaj 

i—, — ^ 


Loug  tirai"  he    liv'd         in 


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Dev-oii- shire. 


He       was     touii    sick 


and        dead-!}      ill, 


And 


^^ 


It: 


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i 


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J'  I  r    f   r 


g' "  f  f 


s 


had       uo      time 


to      write  his    will. 


He       was    took   sick 


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Aud      had      DO     time 


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to     write     his     will.  So 


^^ 


■  » rr— 


p  »  //.laR^-! 


25 

.yofg.     THE    IVIILLERS    LAST    WILL 

TliiMi'  wus  ;»    tiiillcr,  ;is    \iiii    nIi.iII    hear, 

Loujj;  time  he  li\i'i|   in    De-Mnishirc 

Hi>  A*  as  took  sick    iiid  fliMfll\    ill. 

And   had  iicitiim-  to  »i-itc   his   \^ill. 

So  hi'  i-iiil'd   ri)J   his  eldest    sun, 

S;iid   hi'     INI  V    y.l'iss   is  ^ilmiist   run. 

If    I    to   thi'c    iiu    mill    sliill   ;ii\e, 

TrII    iiu'    ^^\\  it    tnll     thmril     t;ikc   to    li\e?" 
^ 

"Father,"  Slid    lic."lVl\    ti.imo  is    Jick, 

From  r\i'r\    Imshri     I'll    take   a    peck . 

Fioiii  every    S''i*>t    that    I   do    j^rind. 

That    I    miN    thus    good    living   I'iud!' 

'"I'li'Mi  art   a   lool'.'   the  old    man    said, 

"Thoii    hast    not    half  acqnired   thy   ti-ade. 

M\     mill    to   thee     I    ne'er    Mill    f^ivi' 

For  h\   such    toll    no    mau   can   live:' 
3 

Then    he   eall'd    up    his    second   son, 

S;iid    he,  "Mv    Jilass  is  almost    run. 

Ill    til   thee     m\     mill     shall     make. 

Tell     me    what    toll     to   li\e    thoult    take?" 

"Father    \oii    kuow    my    name    is    Raljth, 

From  e\i'r\    bushel    111    take    a   half 
From  i.:\cr\    ^rist   th.it    I  do   ^rind. 

That    I    may    thus    a  living    find  I' 
4 

"Thon   art  a  fool"   tlie  old    man  said  : 

"Thou    hast    not    half   aoinired   thy   trade. 
My    mill  to  thee    I  will   not   give, 
F'-r  hy  siicii  toll    00    man    may  live" 
Then   he  call'd  np   his    yoiin'j;est  son, 
Says    he,     IVly     glass   is   almost   run 
If   I   In  thee    my    mill   shall    m.ike 
Tell    me   uhit    toll,  to    li\i',  thi.il'lt    like?" 
5 

"Father   I  am   voiir  yonngest    hoy. 
In  taking  toll   is  all    my  joy. 
Before    I    uoiild   good    living  lack, 
I'd   take  the   \>hole  —  fors»eir  the    sack" 
"Thou  art    the  boy,"   the  old    man   said. 
"For  thon   hast   fnll   acquired    the  trade. 
The    mill   is  thine,"  (he  old   mau  cried. 
He  laugh'd.gave    np    the    gho'^t,and  died. 


p  I  *.  nns-'! 


2fi 


ormond  the  brave 


JV?  IS. 


H.F.S. 


B'j/'ily   0  -  112 


ppfn;=3'^ 


^ 


--     I* 


s* 


w 


^^ 


I  am    Or- mond  the  brave, did  ye 


r      • 


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ipf 


~0        »        0 


5^ 


5Z=F^ 


never  hear  of  me^Wlio     late.l)  mis  drivetifniumy  own.  eon  d. try  ■  They  tried   nie.coiidi'niiied  me,  they 


ur{/i6: 


J^Ff-^J4^:53a^ 


plundered  my  est.ite     For       luin^  so      loy  .  al     to  Queen  Aune  the  g-reat.Cryin^,0!  ....   I   am 


J     1     ■    »l     rg: 


^ 


r    u^ 


W^^W^^^f^ 


p  1  w.nfi.T^ 


27 

Xo  IS.     ORMOND  THE   BRAVE. 


1 

I    »m    Orni'irifl  the  brave,  did  ye  never  ho.ir  nf  me? 
WIm  litely  v»;is  driveu  from    my  owu  country. 
The\   tried    me.eoiideraiied   me, they   plnndered    my  est;ite, 
For  liriii^  so   lo^al   to    Qiieeii    Anne  the    Gre;U, 

Cryins;,  ().'  I  am    Ormoiid,  >im   kiio«. 

2 
O  to  \ii't'ry   I  led,  ;iii(I    I   vauqnishcd   e\ery   foe. 
Some  do  c.ill   me    James   Bntler,  I'm    Ormond  ,  y'li  kiuw, 
lam    Qneen    Anne's    darling  ,  and  old    England's  delight, 
A    friend    to  the   Church  ,   in    Presh\  teri  in  despite. 

Crying,  O  !    I  am   Ormond,  yon   know. 

3 
Then    aNNike    Devon  dogs,  and    arise    yon   Cornish  cats. 
And   follov*    me  a  chasing  the    Hauoveriaii  rats, 
They  shall  fly  from  the  eonntry.  ve'll  gnard   the   British  throoe. 
Have  no  German   electors   with  a  king,  sirs,  of  onr  omm. 

Crying, O!    I    am    Ormoinl ,    you    kuo\*  . 

4 
O   I    wronged    not    my   country    as    Scottish    peers  do. 
Nor  my   soldiers    defrauded,  of  tint    v\hich  is  (heirdne. 
All   such  deeds  I  do  ahhor,  hy  the  [Jo\^crs  that   are  above, 
I've    bei|uc;ith'd   all    ui\    fortune   to  the  country    I  love. 

Crying,    O ;     1    am   Ormond,  you    know. 


Pt  *  \^6^* 


28 


FATHOM    THE    BOWL. 


X9  14.. 


H.F.S, 


J;vi'Ulv.  J  z  isi. 


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r  III. 


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^^ 


V— V 


Ciniu-     all     \oii     old      minstrels  where_ev  _  er    yoa     be     With     cDinrados    ii  _'  nit  _  ed      in 


^^ 


f  r  ;  ^'  I  f  i 


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swi'ct  hnr.ini).ti\    Wliili'    thecloar  (•r\s_t.il     foiiti  _  tain  thrmi^li  Eiit^laiid    shall    roll       (rive 


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lU'  the  Punch  la_dle   111        fathom   the    Imw  I    0  ^ive  me  the  Punch  ia.dle   I'll    I'ltlmmthe  liowl 


*  0*  ^,. 


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2y 


4 


Chorus. 

fr    >  ,  j 


J=^ 


i>       /^      ^         V       /        Y         /        /        /      \     f        f        f  l« 

MTiile  the  c-leur  iTys.t;tl     lufiritaiii  thniiiohEii]u|aiiH  shill  roll        (iiv 


*^  .'' 


fefefe# 


.^^ 


jL^ 


^ 


(rive 


^EE 


me    the  PiiHch  l.i.dle      III 


J- 


f 


S 


f 


J        Y       / 

the    PiHK-h    l;i  _  file      III 


me 


f;(  _  thiim  the    hoMl. 


^ 


n\\\  I  r 


^ 


^ 


-p- 


^?  14.  FATilONl   THE   BOWL, 


Come  all  you  old  minstrels,  wherever   you  be! 

With  comrades  united  m  swt^et  harmony. 
Whilst  the  clear  crystal  fountain  thro'   England  shall  roll, 
O  give  rm- the  Punch   Ladle — I'll   fathom  the  Bowl. 

2. 
Let   nothing  but   harmony   reign  m   your  breast, 

Let  comrade  with  comrade   be  ever  at   rest. 
Well  toss  off  our   bumper,   together   will  troll. 
Ogive  methe  Punch   Ladle — III  fathom  the  Bowl. 
3. 
From    France  cometh  Brandy,  Jamaca  giv-s  Rum, 

Sweet  oranges,  lemons   from  Portugal  come. 
Of  Beer  and  good  Cyder  well  also  take  toll 
Ogive  methe  Punch   Ladle  —  111  fathom  the  bowl. 
4. 
Our  brothers   lie  drowned  in  the  depths   of  the   sea. 

Cold  stones   tor  their  pillows,  what   matters  to  me. 
■We'll    drink  to  their   healths,  and   repose  to  each  soul. 
Ogive  me  the  Punch  Ladle  —  I'll  fathom  the  Bowl. 

5. 
Our  wives  they   may  fluster  as  much  as  they  please. 
Let'em  scold,  let'em  grumble,  we'll  sit  at  our  ease, 
In  th"  ends   of  our  pipes  we'll  apply  a  hot  coal. 
Ogive  Hie  the  Punch  Ladle— I'u  fathom  the  Bowl. 


'  <  ii  ^^f,^ii 


30 


SWEET     NIGHTINGALE. 

Traditional    Melody  for  Two  Voices. 


.Y9  15.(1) 


H.  F.  S. 


'I'-'U'l-rlii .  J-  |c8.        / 


1 


IS 


f^ 


^ 


r      r- 


f 


fet 


J  y^J 


^ 


^^ 


-• — # 


rail. 


i 


3t=^ 


^^ 


iVlv   swLn-thi';irtcf)iin'    a_  long^,  Dou't  yon 


^^ 


-» — r 


^ 


^A 


i 


/  j-in  h' '  ^ 


m 


r^ 


liiMP    the'    foiul    soil"-,  Tlir  swi'ot  uofos    of     the    lii^jht _ in  _  i>a le     flow. 


Dotit   yon 


-^— I 


g 


g  ^ 


lErz:^ 


*  i   « 


S 


^ 


■± •- 


^M 


-N^ !c 


gifif    r^'MfFfs 


i^ 


;i"   q* 


ft      ^     I 


T T" 


r 


liiMP    the    foiifl    tak'       of  tho  sweet  night _ in  _j;ali'.    As    she  sings   in     the     v.tl.lejs     he 


^i^fgV4^^=fTO^r-H^^ 


As  she  sings    in     the    val_leys    he 


f 


'  S  *.  isnri.' 


ill 
JVQ  15.   SWEET   NIGHTINGALE. 

] 

My  sweet  he:trt,  conn-  aloiiji. 

Don't  you  hear  the  fond  soiii;" 
The  sveet    notes  oT  (he    NiRhtiugule  I'luw  { 

Don't    you  hear  the  foucl   tale, 

Or  the  hweet    nij:^htiiigale, 
At>   she   sink's  iu  the  valleys   helow  ? 

2 
Pretty    Betty,  dou't    fail. 

For   I'll  carry    your   jjail 
Safe   home  to  your  cot    is   \\c  go; 

Voii  shall    hear  the  IoikI  tale 

01    the  sMeet    nightingale. 
As    she  sings  iu   the  valle\s  belnw 

3 
Pray   let   aie   alone, 

I   have  hands  of  ray  owo, 
Along  with   \oii   Sir,  I'll   not  go. 

To  hear  the  fond   tale 

Of  the  sweet   nightingale. 
As   she  sings   in  (he  vjJK'ys    heliiw. 

4 
P  ra\    sit    \iiiirs(lf  dow  n 

With    me  on  the   y;ionnd 
.On  this  hauK    where  (he  primroses  groM, 

You    shall    h.'ar    (he   fond   (ale 

Of  the  s-,»eet  ni;rh(in''.ile, 
As  she  sings  in  (he  valleys   helow. 

5 
The  collide   agr*'ed  , 

And    wei'e    married    uith    speed, 
And   soon  to   the    chuirh    they   did   <;o: 

No  more  is   she  a fr.i id 

For  to  walk  in  the  shade. 
Nor  sit   iu  those  valle\s   belou  . 


p  \  f  .i:((i3'; 


32 


JS-?  15. 


SWEET     NIGHTINGALE 

Arranged   as  a  Song. 


,'2  I 


H.  F.  S. 


J...S 


1 


0^0 


:l=pt= 


J>.l^*'*"^ 


^ 


yfT=^ 


i  ^ 


^ 


M\  swiut  heart  CI  iiiK'  ,i  _  Ion  o^'Dunt  ym  lu'ar  tin"  fond    soiig',Tln' swoot  notesof  the    iii«5-ht_iii_g-:ile 

-. =it 


*'    no« 


Don't  yon  hr.irthi' fond  tale      of  thrsui'ct  Ni<fhtin_jf,ik',  As  she  siii";'s  in  the 


■  •    !■•     F 


^ 


^^ 


^ 


if 


I        I 


vaLleys  ho  _  low 


As  slii'sinirs  in    the    val_lev    he  _  low. 


F  i  ".  i;i(;.t; 


33 


JV?  15.   SWEET   NIGHTINGALE. 


My  sMeot  lioai-t,   coiiu'  aldii". 
Dou't   \oii   hear  till'   I'liiifl  siiiij; 
Tlu'  s\\ei't   tiutc!,  uT  the   Nisi;htiiigale  flow  ? 
Don't    vm  luMi-  the  foud   taK-, 
()l    the  sweet    lliji^htiiiiiale, 
Ab   she   siii|Js  iu  the  vallejs,    helu«  ? 

2 
Prett\     Betty,  don't    I'lil, 

For  I'll  i-ai-ry     your   jju'l 
Safe   home  to  your  fot   us   we  go; 
You  shall    hear  the  I'oikI  t  ile 
or  the  sweet    uii-htiii"  ile, 
An    she  siiigs  iu   the  valle\s   below. 

3 
Pray  let  me   aloue, 

I   ha\e  hands  of  m\   om  n , 
Alon<^   uith   \ou    Sir,   I'll    not  ^o, 
To  hear  the   I'ond   tale 
Of  the  sweet   ui;;htin;;ale. 
As    she  siii'^-s    in   the  valle\s    iiehjw. 

4 
Pra\    sit    MHirsi'lf  dnwii 

W  ith    me  <iu  the   uiiHind, 
Ori  this  liinK    sphere  the  primroses  "row. 
Yon    shall    h,Mi-    the   fell,!   tale 
Of  the  s'.u'.-l   nightingale, 
As   she  sink's   in  the   valle\s   beluu  . 

5 
Thi"  eon|jle   agreed , 

And   \(ere    married    with   speed, 
^Vnd    soon   In    the    chnrrh    they    did    go; 
No   inoi'e  is    she  al'r  liil 
Fnr  (ii  walk  ill  the  shade. 
Nor  sit    ill  those  v  il!,\s    heluw  . 


'  1 '"  r.»63-; 


•14  ■ 


WIDDICONIBE    FAIR 


.Y?  16. 


C^-'tnll,).  J: 


H.  F.  S. 


m 


^E^ 


P 


^ 


,1 4 ^ — r 


-m — * 


-* — ^-» 


9  *  ^ 


Wifl  _  (li^omlic  b'tir  with  Bill  Bi-p«vr,JaiiSt('\v('r,Pr(er(tiinii'3,HtoiD.i\},D;iiiW))if|rluti,H:irr\H:i\\k,   old 


nil  -  do  'I  nm    C()li|i'\     :iil(l        u 


^ 


nlfl     iiij.cic  TdMi  Cohley  and     all. 

■I  ■ 


^^ 


^~y~? 


^^^JE 


-»^,r— ?: 


¥^ 


■  ^      r 


^ 


^^ 


^^P^ 


1     ^ 


p  &  w.  I  i«:if 


.^3 

A'^i6-.WIDDIC0IV1BE    FAIR. 

1 

"roni    Pc.irsi',  'I'dim    Piirsr,  Iriid  iiic  mhit  ^rc\    iii;iri', 
All    aluiiji;, (liiwii  ;ili)iiji,u"(    ^ilmii;,   Ice. 
For   I   Wiiiit  for  to  '4(1  to    V\  iildi'cniiilK'  F:iir, 

Wi'   Bill    Bi'ower,   Jan    Sti-Mrr,  Peter  Guriiuj,  F^li>r  L).t\_\.  Duil  M  hidiion. 
H;icrv    H;i\\k,  old   Uncle  Tom  Cohlilcijih  and  alj',' 
CHORUS. Old  Um-le  Tom  C'ol)bIei<:;li    iiid   all. 
2 
"Aui\    wlii'ii   shall   I  see  a^aiii    iii\    ji,rtj    marc  i"' 

All   aloiiii',   ic. 
'ii\    FiidiV   f>(>oii.  or    Saturday    imoii, 
Wi'  Bill    Brewrr,  Jan    Stcwer,  &c. 

S 
Then    Friday  came,  and    Saturday   noon, 

All  aloti;^,  &c. 
But    Tom    Peai'se's   old    mate    liatli    not  tr(/tti'd    hurae, 
Wi'  Bill    Brewer,  i:<-. 

4 
S>  Tom    Pearse   lie    )i;ot   ii|)   to  the  to|'(i'tlie  hill 

All    alonfi;,  Scc. 
And  he  seed  His  old   mare  d'lwfi  a   mikin<i   her-  «ill 
Wr    Bill    Brewer,  &e. 

5 
So   Tom    Pearse's  old    mare,  her.  tncK   sick  and  died. 

All    .iloiii;,  ic. 
And  Tom   he  bat  do\»ii  un  a  stone,  and   he  crird 
Wi'  Bill    Brewer,  Act. 

H 

Biit   this   isn't  the  I'lid  o'this  shoikinjii;  affair. 

All  ulono,  &c. 
Nor,  though  they  be  dead,  of  the  horrid  career 

Of    Bill    Brewer,  ice. 

7 
When  the  wind   whistles  eold  on  the    moor  of  a  niffht 

All  alon^-,  &e. 
Tom    Pearse's  old  mare  doth  appear,  gashl\     white, 

Wi'  Bill    Brewer,  &e. 

8 
And  all   the   lon<j  night    be   heard   skirlinii  and   urinns. 

All  alon^,  (fee. 
From    Tom    Peii'se's  old    mare  in    her   rattlin;;    hones. 

And    from    Bill    Brewer. Jan  Stewer,  Peter  (inrney,  Peter  Davy,  Daiil  Whtddoii, 

Harry    Haw  k ,  old  Uncle    T.^m    CohMn-h     ii.d    ,11. 
CHORUS.  Old    Unci.-  Tom   CoM'ieillh    .uel    ill. 


!"  i  V.-.l.ii;;i-! 


86. 


jyp  17. 


Ye    lYlAIDENS    PRETTY 
For  4  Voices. 


H.F.  S. 


/;i    '/nick  fim>;,h\if  wi*h  ■'xpr:'SSion. 


/ 

^/^^ K R^ fT 

1   \    1 

F^=t=^ 

\ 

F^-#^ 

^ 

— ' — I 

1 

/  /  / 

Yi'     ni;iiili.Mis 

^      ^      ^ 

— • 4 

/ 

a     t 

r          /          ^ 

ill     tuuii    iikI 

-^ J 

I     pray     ym 
^       ^       \ 

-r    ^    -* 

-f- — r — -- 

pi  - 

V 

I 

M — ft — /■ V \f-^ 

—y — ' ' 

^T^^ 

-r 1 

'  ^  /   ;  1 

=I=J 

i 


3= 


^ 


T-=r 


my  mouri 


I'll  I 


^^ 


A     (l,iin_sel 


vvi'opiiii^' 


/       /        ^ 

Her  night  watu 


■       * 


h  keepiiijf 


In   g;rii'f'     nn. 


-»»^ 


i 


S^ 


slecpjng   Makes  lu-r  com 


plain 


/        f        / 

In    tdwer    I 


V 

«. 


S^ 


V 


an<ciiisli 


^ 


/  V         f 

In    colfl     HifJ 


i=i 


safl.ncss 


P^ 


a  t-rnpn. 


p  s  *.  {^f,■^■i 


37 

.yj  n    YE    MAIDENS    PRETTY. 


1. 

Ve  n;  videns  prt^ttv 
lr.  town  and  city, 
1   pray    you    pity 

My  mourntu!  strain 
A  maiden  weeping, 
Her   night-watch  keeping. 
In  grief  unsieepinj; 

Makes  her  complain: 
fn  tower   I,  languish 
In  cold  and  sadness. 
Heart    full  of  anguish. 

Eye  full  of  tear. 
Whilst   glades  are  ringing 
With  maidens  singing, 
S,veet  roses  bringing 

To  crown  the  year 
2 
Thro'  hills  and  va!Iies, 
Thro'  shaded  alir'vs. 
And  pleached   palis  — 

Aim  5  of  grove  ; 
Among  fair  bov/ers, 
Midst  fraf,rant  flowers. 
Pass    su'.'.ny  hours. 

And  sing  of  love. 

In  tower  1  languish,  \-c. 
3. 
■  My  cruel  father 
Gave  straitest  order, 
By  watch  and   warder, 

I  barr'd  should  be. 
All  in  my  chamber, 
Hi3,h  out  of  danger. 
From  eye  of  ranger. 
In  misery. 

In  to'.^er  1  languish,  jtc. 
4. 
'Enclosed   in   mortar. 
By  wall  and   water, 
A  luckless  daughtei 

All  white  and  'van; 
Til!  day  is  breaking 
My  bed  forsaking, 
1  all  night  waking 

Sing  like  the  swan. 

In  tower  I  languish. 
In  cold  and  sadness. 
Heart   full  of  anguish, 

Eye  full  ot  tear. 
Whilst     plades   ar-   ringing 
With  maidens  singing 
Sweet   roses  bringing. 

To  crown  the  year." 


P  t  *  nti.i 


3s 


THE    SILLY    OLD    MAN. 


.V?  18. 


H.  F.  S 


Ch"erfnlhi    J.=  8rt. 


Aw!  coiiii^  now  111  ^wz,     yon    a        song'  ,    .    Tis     a   sonj;    o'  riujht  miM'_r\ 


i 


^^ 


^^ 


?'  i''     "    'I 


r-    r" 


i 


1  ■     ■   — »~ 


\    N.    \ 


^ 


*•       W       •: 


*<        ^      ^     i 


0  •  0 


^ 


=?=? 


•■^    _    lent.   .       Ciii]-fcn)io|i ;(      silJy  old     man.    .Wlmworit  fnr    to    |j;i\    his       rent.   .    Singing^: 


$ 


^^ 


i 


SJ 


W 


I  I 


^m 


^^ 


■^n? 


Si£ 


^^ 


^ 


-«M # 


Chorus. 


i 


^i^    J^  ^   J 


i 


^^ 


•      • 


•  0 


Too     ra    la     loo 


ra 


loo 


Ri 


// 


^^ ^n  ti 


^ 


/  /  / 

too     ra     la 


loo 


ra 

^ 


C    T  C 


PS*.  1S63.' 


:^9 


X9l8.  THE    SILLY   OLD    MAN. 


1. 


A*  !  Come  now,  I'll  sing   you  .1  song, 
'Tis  a  song  ot  right  merry  intent. 
Concerning  a  silly  olci  man, 

Who    went    for   to  pay  his  rent, 

bingiiig.  Too_rd-la.loo.ra.loo. 
•i. 
Ani   as  this  here  silly  old  man, 

\Nas  riding  along  the  lane, 
A  Gentleman,  th:ef  overtook  him, 
Saying  "V\-ll   ov'-r-taki-n  old   man'.' 
3. 
"VVhat!  Well  over-taken,  do'y  say?" 

"Yes,  Well  over  taken','  '^uoth  he. 
'  No,  no,"said  the  silly  old  man. 
"1  don't  want  thy  company. 
4. 
"lam  only  a  silly  old  man, 

I   farm  but  a  parcel  of  ground. 
And    1   am    going  to  the  landlord  to   pay, 
My  rent   which  is  just   forty  pnutid'.' 
5. 
"But  supposing  a  highway -man  stopped  you^ 
For  the  rascals  are  many,  men  say. 
And  take  all   the  money  from  oft  you 
As  you  riie  on  the  king's  highway'" 
6. 
"What!  supposing  some  t'ellow  should  stop  nie^ 
Why  badK   thr  thief  would  be  sped. 
For  the  money  I  carry  about   me 
In  the  quilt  o'my  saddle  is  hid'.' 
7. 
And  as  they  were  riding  along. 

Along  and  along  the  green  lane. 
The  Gentleman  thief  rode  afore  him 
And  summoned  the  old  man  to  stand. 


But  the  old  man   was  crafty  and  cunning, 
As,  1  wot,     in  the  world  there  be  niany 
Pitche'i  his  saddle  clean  over  the  hedge, 

Say ing, "Fetch' n  if  thou   woulds't  havi-  anv" 
Singing   Tco_ri.li.loo.ra.loo. 
9. 
Then  the  thief  being  thirsty  for  gold, 

And  eager  to  get  at  his  bags. 
He   Ira'ed  out  his    rusty  old  sword, 
And   chopped  up  the  saddle  to  rags. 
10. 
The  old   man  slipped  otf  his  old  mare, 

And   mounted  the  thiet's  horse  astride, 
Clapp'd  spur,  and  put  him  in  a  gallop, 
tsayiug"!. without  teaching, can  ride',' 
11. 
When  he  to  his  landlord's  had  come, 

Th  At  old  man  was  almost  a-spent  , 
Sayi   he, "l.andl&rd,  provide  me   a  room. 
I  be   come  for  to  pay  up  my  rent'.' 
12. 
He  opened   the  thief,  his    portmantle 

And  there  was  a  sight  to  behold. 
There   were  fi\e  hundred  pounds  in  silver. 
And  five  huTi  ired  pounds  in  gold. 
13. 
And   as  h'-  was  on  his  way  hoiiie. 
And  niing  along  the  same  lane. 
He  seed — his    ^  illy  old  mare. 

Tied   up  to  the  hedge  by  the   mane. 
14. 
He  loosed  his  old  mare  from  the  heilge, 
As  she  of  th-  .•];rass   there  did  crib. 
He  gi'ed  her  a    whack  o'  the  broad  o'  the  back, 
Saying"Fcllow  nie  home,  old  Tib".' 


15. 


Aw!    When  to  his    home  he  were  come 
His  daughter  he  dress'd  like  a  duchess. 

And  his  ol' woman  kick-'d  and  she  capered  for  joy, 
And  at  Christmas  danced  jigs  on  her  crutclies. 
Singing,  Too.ra.la.loo.ra.loo. 


Pi*    l.-lS.li' 


40 


THE     SEASONS 


.Y?  19. 


H.  F.  S, 


Jr  so.  In    nf>'f:-riif->  *i> 


5^ 


J-     .    Jfe 


^ 


J fcL 


•  « 


-• • » 


"T 


-0-. — f-. 


r — r 


as^Ffe 


I  I      -T- 


^m 


^m 


# 


S  I    F- 


^ 


T~rT 


;±i: 


w      — #- 


■>  when   the 


First   iiiitu's  iJ  III  .  II    _ 


\m 


^^^ 


U  J     / 


s^ 


f 


^ 


T 


*  »  ll* 


m 


>  '>     I     a     I     .      *      h  ■ — *r 


i 


* 


a^ 


I", *•    II  =4: 


F* 


lit      tic   t'cefi     i>ii    stro'  l-ht'   wiMthcr  heiiip:  so   culd,    while  the  siio\v  lies  mi      the 

K       '  N.      ;        V     I V^J J^— J V. 


^i  j'j  jj  r— i-^ 


*    I* 


li^zfc 


^ 


d     ■ 


H'^^^ 


"Tniiiifi  There       will    he     an.oth   _   er  change  ni"mni)n   He  -  i'nre    the  \e:tr  I'oiiies  roiiiifl 


PiW.  i:i«'.3-.' 


41 


J^919.  THE     SEASONS. 


1. 

First  comes  .lanuary 

Wh'-n  the  sun  li-is  very  low; 
1  See  in  thf!  farmer's  yar<i 

The  cattle  feed  on  stro" 
The  weither  being  so  cold 

The   sn'-.w  lies  on  the  ground. 
There  will  be  another  change  of  moon 

Before  the  year    comes  round. 
■>. 
Next  IS  February, 

So  early  in  the   spring; 
The    Farmer   ploughs    the  fallows 

The   rooks   their  nests  begin. 
The  little  lambs  appearing 

Now  frisk  in  pretty  play. 
1  think  upon   the  increase, 

Anii   thank    my   God,      to-day. 

March  it  is  the  next  month. 

So  cold  and  hard  and  drear. 
Prepare  we  now  for  harvest. 

By  brewing  of  strong  beer. 
God  grant   thdt  we  who  labour. 

May  see  the  reaping  come. 
And  rirink  ami  dance  and  welcome 

The  happy    Harvest  Home. 
4. 
Next  of   Months    is  April, 

When  eaily  in  the  morn 
The   cheery  farmer  soweth 

To  right  and  left  the  corn. 
The  gallant  team  come  after, 

A-smoothing  of  the  land. 
May    Heaven  the  Farmer  prosper 

What-e'er  he  takes  in  hand. 
5. 
In  May  1  go  a  walking 

To  hear  the  linnets  sing. 
The  blackbird  and  the  throstle 

A-  praising  God  the  King. 
It  cheers  the  heart  to  hear  them 

To  see  the  leaves  unfold. 
The  meadows  scattered   over 

With  buttercups  of  gold, 
tj. 
Full  earlv  in  the  morning 

Awakes  the  summer  sun, 
The  month  of  June  arriving. 

The   cold  and  night  are  done, 
The    Cuckoo  is  a  fine  bird 

She   whistles  as   she  flies, 
An.1  as  shp  whistles.  Cuckoo, 

The   bluer  grow   the  skies. 


7. 
Six  months  I  now  iiavt;  named, 

The  seventh  is  -July. 
Come  lads  and  lasses  gather 

The  scented  hay  to  dry. 
All  full  of  mirthand  gladness 

To  turn  it  in  the  sun. 
And  never  cease  till  daylight  sets 
And  all  the  work   is  done. 
8. 
August  brings  the  harvest. 

The  reapers  now   advance. 
Against   their  shining  sickles 

The   field  stands  little  chance. 
Well  done'.exclaims  the  farmer. 

This  day  is   all    men's    friend. 
We'll   drink  and   feast   in   plenty 
Wh'-n  We  the   harvest  end. 
9. 
By  middle  of  September. 
The  rake  is   laid   aside. 
The  horses    wear  the  breeching 

Rich  dressing  to  provide. 
All  things  to  do  in  season. 

Me -thinks  IS  just  .md  right. 
Now  summer  season's  o\  er 
The  frosts    begin  at     night. 
H). 
October    l^ads  in  winter. 

The  leaves  begin  to  fall. 
The  trees  will  soon  be  naked 

No   flowers  left  at  all. 
The  frosts  will  bite  them  sharply 

The  Elm  alone  is  green. 
In  orchard  piles  of  apples  red 
For   cyder  press  are  seen. 
11. 
The    eleventh    month,  November, 

The  nights   are  cold  and  long, 
By  day  we're  felling  timber. 

And  spend  the  night  in  song. 
In  cozy  chimn''y  corner 

We  take  our    toast  and  ale. 
And  kiss  and  tease  the  maidens, 
Or  tell  a  merry  tale. 
12. 
Then  comes  dark  December, 

The  la^t   of  months  in  turn. 
V\it!i  holly,  box.  and   laurel. 

We  house  and  Church  adorn. 
So   now,  to  end  my  story, 

I   wish  you   all  good  cheer. 
A  merry,  happy   Christmas, 
A  prosperous  New  Year. 


P  V  *    \7.(,?.i 


4  2 


THE     CHIMNEY   SWEEP. 


^r?  20. 


$ 


*    Z     I  J. 


Arranged  by    1-.  W.   BUSSELL. 


Vl^j?    H  J 


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{)      s«i'i'|j!        cliiin.  in'\      s\u'i'pl  Von 


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without      l,iH_fler     with_ofit         ro|n'.         Ay     ;iiifl     therel      Aye       aiirl 


p  s  >y.  nfi.i'j 


4  3 


JV9  20.  THE  CHIMNEY  SWEEP. 


Oh.'swLH'p   chimiK'v,  sweep? 
Yuu   inaideus    sliike   off  sleep 
If   \oii    m\  cry   can    f'iil|in\. 
I  climb  the  chiQiiie\   top, 
Without   lidHer  :iiul   rope; 
Aye  iiifl  tlieie.'aye  mn!  tliere.'aM-  and  there  yoiill  hear  me  haUool 

2 
Arise!  maids,  arise! 
Uuseal    and   ml'  your  eves. 
^Vrise    and  do  yoin-  duly  . 
I  siiiniiiiiM    yet   .i^aiii. 
And   do  uot   m.'  disdain, 
That   niN  lall-that   my   e.ill-tliat    my  raliiusj-'s     pour  and  sooty. 

3 
Behold.Miere     I  stand! 
With   brnsh   and   scr'ipe   in  hand. 
As  a  soldier  that  st.mds  on   his   sentry. 
I    SMirk  for  the   liettei'   sort , 
And  well   they  pay  me   for't . 
()  I  work,  O    I    work,  O  I   woi  k   for   the    best   of  gentry. 

4 
Oh!  sweep  chimni'V,  sweep! 
The   hiMirs  onward  creep. 
As   the  lark    I  am    alert ,   I 
Clear  away,  and    take 
The   smut     that  others  make. 
O   I  clean,  ()  I  clean,  ()    I  clean    wh.it  others  dirty. 


P  \  *.  l.tii:^-.' 


44 


THE    SAUCY   SAILOR 


X!'  21. 


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15 


X9  21    THE    SAUCY  SAILOR, 


"Conn-    iin    r.uiest,  coiiir  in\   dciii'st 

Love  with     inc. 
Comi"  aiifl   \oii  sli  ill    ui'd   ,i   s;u'lur 

Fi'om  the  SL':i  ." 
'"F.utli    I   want    iiriiif  of  \iiuv   sailoi-s," 

Slic  did   sa\  . 
Si*  hi'^iiiii"  \on  saiir\  crPafiirc. 

So    ln'^OIK-    IVulM     llic,  I     |jr  |\   . 

2 
"Yoii  are   ra^-^i>d ,  von    iic  d!rt\  , 

Sllli'll    uf    t  If. 

Get   yi'ii  ji,oiie  to  i'(ji\-i<ru  eoniitries, 

Heiice    iifar." 
"Ir   I'm   ra^zui'd  .  il'   I'm  ilirtv  , 

or   tar    I  Mnell. 
Yet  there's    siher  in   n)\    pockets, 

Aui'i  of  gold,    i  btore  as  well!' 
3 
When   slic  saw  the  shininif  silver, 

Saw    the    ^'/Id  ", 
Down  she  Iviieeled,  and  \cr\   hniiiMv 

Hands  did    fold; 
Saying  "()  forgive  the  foll^ 

From   me  fell, 
Tarr\  ,  dirtv,  rag-ged  sailors, 

I  love    more  than  words  can  tell? 
4 
'Do   not  think,  yon  chaugefnl    maiden, 

I  am    mad. 
That   I'll  take   yon,  v^heu  there's  other 

To   be   had  . 
Not   the  ontside  coat  and   wuistco.it 

Make  the  man. 
Yon   have  lost    the  chance  that  offered. 

Maidens  snap —  when  e'er  yoa  can' 


P  i  *.l:i«a-< 


46 


BLUe     lYI  USLIN 


J^?22. 


H  .  F.   S . 


Liv'iu.  *-  I'.;. 


\ 


\P^ 


()    will    yin    at'cept    of      :i       nidiissclin      so  Mire 'I'n  \mmc  :illiii  flu'mornin<c;iiifl  to 

J 1 I 


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flal)_!>lc   ill    thi'di'w?   Nil    I      "ill     'lilt      i(c_i'e|it       uf    the       monsseliii       sufiliir     To 


m 


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wear  all  in    thcmoriiini;  umI  to       dalililr   in    llu' d»'\v  Nor  to  walk  nor  to   talk  with    von. 

-I — 


^ 

^ 


Af^'.-r    f'erse  5  unl  f  Jlowing  versus 


*''  When  \oiimij(ht\oii\\oiiKI  nut ,  now  \ijM  will  not  shall   nntSo  I'lrc    -     >oii-wi'll         ni\    dark_r\c(|  Sue 

-|     i      -I     '      g— -i. 


p  i  *.  l.Tr.3-.' 


47 

X?     2  2.     BLUE     NIUSLIN. 


1. 

"O  will  you  accept    of  the   mus-e-lin    so    blue, 

To    wear   all  in   the   morning,  ami   to  dabbln   in   the   df-w. 
"No,  I  will  not    accept   of  the   mus-e-lin  so  blue. 

To  wear   all  in  the  morning,  and   to  dabble    m   the  dew, 

\or    I'll   w.\'.k,  nor   TU  talk-with  you'.' 
2. 
"O  will  you  accept   of  the  prettv   silver  pin. 

To   pm   your  golden    hair  with  the  fine  mus-e-lini 
"No,  1   will  not  accept   of  the  pretty  silver  pin, 

To  pin  my  golden   hair  with  the  fine  mus-e-lin. 

Nor    I'll  walk,  nor  Til  tiUk-with  you'.' 

3. 

"O  will  you  accept  of  a  pair  of  shoes  of  cork, 

j-i,^   one   IS  made  in   London,  the  others    made  '.n  York. 
"No,  I  will  not  acceid  of  a  pair  of  shoes  of  cork, 

The   o,ie  that's  mad-'  in  London,  the  other's  m^dr  in  York, 

Nor   I'll  \tdlU,  norfU  talk    with  you'.' 
4. 
"O  wi'l  you  accept  of  the  k^ys  of  Canterbury, 

Th-it   uU  the  bells  of  England    may  ring,  and    make  us  merry? 
"No,  I  will   not,  accept  of  th--  keys  of  Canterbury, 

That  ail  the  bells  of  Eni^Umd    mav  ring,  and   mak-  us  iTiHrry. 

Nor  Til  w.V.k,  nor  I'll  talk   with   you? 
5. 

"o  will  you  acc'-pt  of  a  kiss  from  loving  heart; 

?'' 

That    A^   ina\    )oir.  together  and  never  more  may  part. 

"\>.s,  1  will  accept  of  a  kiss  from  loving   heart. 

That  we  may  join  together  and  nev-r  more   may  part, 

Ani  l"l!  walk,  and  i'l!  talk  with  yoj'.' 
"When  you  might  you   would  not; 
Now    sou   will  vou  shall     not. 

So  fare  you  well,  my    dark    ev'i'i  S'-i.-"' 


Tht-    -Oh-    llitn    Inrn-     h,(k    ir    n  v.  i^.    >  rd-r.    will,    liip"«.h(>es    ot  ciirk"  llie  "Silver    pin"    ana    llif"bliu-    .iiii-lli>', 
i!.>..\.    »iili    111   ><>li  ''Mli.n    >  ii iM    >,.u    v%inil<l.  ii.it.  Jci:. 


1^ 


The  squire  and  the  fair  iyiaid 


,\y  2s. 


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"The   \o(ingerjoii     are     the   better  \ on  are,    The  better  y>u     are    for      me.  , 

/J  /  J       J        ^^ 


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vow       and       swear,  and      do       de  _  elare        I'll         mar  _   rj        none       save      thee!" 


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fish  _  es  fly        a- 

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r 


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I 


•"  <  *.  Mfi:"  ' 


X9  2S.  THE  SQUIRE  AND  THE  FAIR  MAID 
1. 

As    1    was  walking  out    one  day 
Where  silver    waters    gU'lf^- 
1    saw  a    Squire 'and   gentle    maid, 
Down  by  the    river's   side  . 
''Thou   hast  a  fair  presence;'she    said, 

"Thou    hast  a  nimble   tongue'.' 
"1     would   thou    wert    my  Bride,  fair   maid!" 

"Kind    Sir    1  am  too   young'.' 

CHORUS      "The   young'-r   you  are, the   better  you  are 
The  better  you  are   t'or  ncf . 
1  vow  and  swear,  and   do  declare 
I'll  marry   none  saVe  thee!" 
2. 
He  took  her  by  the  lily-white  hand, 

He'd  scarce   her   t'lngers  press'd  , 
Ere  all  around    his   neck   slie   hung. 

And   Sank  upon    his   breast. 
She  kissed    him   on   his   cherry   lips. 

She   kissed    his   ruddy  cheek, 
She  stroked    his    flowing  fla/en    hair. 
No  -.vords   the    Squire    might  speak. 

CHORUS.   To  all   who  seek  good  wives,!  speak;    — 
Each  forward    Maid  eschew. 
When  fishes  fly  as   swallows  high  , 
Such    maids  as  these  prove  true. 

3. 

Then   from  her   arms  himsell  he  loosed 

Hei    tiiigers  did  unbind. 
"Fair   m.ii  i,  you  mav  be  urider  age. 
But   you   are  over  kind, 
if  1  of  marri?»ge   spoke  a  word, 

1    bitterly  it  rue, 
Man  loveth  non^-  so   easy   won, 
So   over-fond  as  you. 

CHORUS.     To   all   who  seek  &c. 
4. 
Go  get  you  wher'-   are  gardens   fair 

Then  sit  and  weep  your  fill 
No  man  alive,  I  wot,  will  wivf' 

A  maid  cf  forward  will. 
There  is  a  herb  in  vour  gurd^-'n 

I   think  they  call   IT  rue. 
And    willows  weep,  o'er  waters  d.-ep. 
Thf'se  b''  the  plants  for  you'.' 

CHORUS.     To  all  who  seek  S-c. 
5. 
She  went   all  down  to  her  garden. 

And  sitting  there    did   cry. 
Was  ever  found  on  God's   fair  ground, 

A  maid  so  used  as  I . 
Whilst   some,  I  ween,  dance  on  th'-  gre-n. 

And    others    widely  roam, 
U-'v  I  must  stay.  Alack  *hf  '-lay! 
An  1    Irink    my  tears..'  hom^." 

CHORUS.     To  all  who  se-k      c. 


» t  w  i.ih.v; 


,r?  24: 


THE    HAL-AN-TOW,oR 
Helston   Furry   Dance. 


Arranged  bv    J.  MATHEWS. 


Cnn  i>iiri*' 


J  * ,  J I  nr^^ 


^ 


i    t     *    "^ 

-^ 0 ■ 1 — 


afe* 


i^ 


:/     i 


^ 


^ 


£s; 


•       # 


Ro  _  hill  Hood  :iM(l     lit.tk'JohiiThey  bothhavcgoiie  to  till'  fair      ();  Andwe    will  to  thf 


I'liasf  the  buck  and      doc.    .    .  M^ith  HaLari- tow  joiJ\     iiim_l>le    ()     to     chast'the  bin-k  atid 


'"'I'hi-   -mill  ii.ii.s.iie   Slim,  ihnt  <  --nnff .  PiW.isns 


51 

,Y0  24.  THl    HAL-  ANTOW  or 
HELSTON  FURRY  DANCE. 


1 

UoMii    Hood  uuH   little  John 

'IMk'V  l)oth  ai-i'   jioiic  to  tin-   I'.iir,  ().' 
And  Ml'  «ill  ^0  to  till'   Muii-y    jiircii  wipod. 
To  set'  what  th.'\   .lo  thrrcO! 

And   lor  to  ch;isi',(),  to  cIiisl'  the  inick    inrl  doe? 
With    H:il-au-toM,  jolly  nimlile.O, 
(/>       And  \\e  \\ere  nu  as  soon  as  the  day.O, 
Di  For  to  fetch  theSainmer   home, 

T      The    Summer,  and  the    M.v.O.' 

o 

Nou   theWiuter   is  a  goue,  O. 
2 
WhiM-e  are  those    Spaiiiai-ds, 

That   make  so  n;reat   a  boast,  O! 
Why,  they  shall  eat  the    )^re\    ^oose  feathers, 
And  we  will  eat  the   roast,  ().' 

In  every  laud,  (),  the  land    where'er  we  ^o, 
With   Hal-an-tow,  jolly  nnuhle    O  ' 
Chorus.  And   ue   uere  iip,&c: 

3 
As  for  that  ;i,oiid    Kni;j,ltt,  S.  George  , 

S-lTeor^e    he  was  a   KnijJ^ht.O 
Of  all  the  knights    in   Christendom! 
S.Geurjce  he  is  the   ri^ht,  ()  .' 

Irie\er\   l.ind.O!    the  land    whi're'er   we  gu, 
With    Hai-aii  tiiw.  jolly    rnrahle  O 
Chorus.  And   we  were  np,  jcO: 

4 
God  hless     Modryh    Maria* 

Aiid   all    her   power  and    mi^ht.O! 

And  send   ns  peaei;  in    merry    Entfland. 

Send    peace  hy  day  and    ni^ht ,  ()  ! 

To  merry    England ,().' both    now  and  ever  mo' 
With    Halan  tow,  joll\    rnmi.le    O 
Cho'ij<;.  Aud   we  were  np,  -te. 

Willi  i.,  >.iiii(i:  ■•'■•"••II.V  i-^   Aunt     >l  1 1  v     'M.i-.i~.  Iml    lliiv  i^    pr'ibtbl.Y  ■«  cmrupl 
all"ialii.n   fnmi   the   Curnish    Mudryb  (  \iint  i     Tlii~    lu>^    bf-n  <  l\  in(CP»1  Ik   Muses 
ind  Iranslilnd   ln-h  le  tlu  mnii-  In  fill  'iiil    tli-  line     ".Viinl"  .ind''l'nr  li-".<rc  titles 
'  i  tr .  I  Afi  .X  ■!  "f  revnence   jf'*""    if.    ('■■in->.|l   niili-  iicespi  rtive   ui    lel.il  innsliip. 


BLOW   AWAY  YE    lYlORNING    BREEZES. 


.YP  25. 


H.F.  S. 


J-   I.JO 


r-U^ 


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d    r    * 


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BKiw       a_\va\    y?    mnrn.injc  hr'M'/i's 


Bl'i«    \T  ^*i"f'*^ ''''V     '" 


Blow       aw;i\    tilt'  moniiiM'-     kisses    Blow    Blow 


te 


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MInw  ()       tlioM  shill  riK'   the      ve  _  i'\    limir  Tint  i''<'r  tliun  krn'\M'st  the 


'  mill. 


Foi 


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ri\j.  ij', 


^^ — ^ 

I        will    liiki'     the    wheat. en    llniir      md     (hmi    s|ii||  li||<,.      thehraii. 

-r 


PS*.  i.ii;:v.' 


63 


Chorus. 


y?   25. "BLOW   AWAY,   YE    MORNING    BREEZES: 


1. 

Blow  aw\y.  y*^  morning  breezes. 
Blow,     ye     win4s,  H-'ii^h-ho! 
Blow  away   the  morning  kisses. 

Blow,   blow,  blow. 
'O  thou  shalt  rue  the  very   hour, 

That  e'er  thou  knew'st    the  man. 
For   1  will    bake  the   wheaten  flour. 
And  thou  shall  bake  the  bran'.' 
CHORUS. 

Blow  away,  ye  inorning  hrc-Zr-b  jtC. 
2. 
'O  thou  bhalt  sorrow  thro"  thv  soul 

Thou  stood  st  to  him  so  near. 
For  thou    shalt  drink  the  puddle  loul. 
And  1  the   crystal  clear'.' 

CHORUS.  Blow  away  ye  morning breezes.\> 


"O  thju  shalt  rue  that  e'er  thou   wo'ld 
Behold  a  love  of  mine. 
For  thou  sha'.t  tup  the   water  cold. 
But  I  will   sup  red  wine'.' 

CHGRL'S.  Blov%    away  ye  morning  breeze;.  &f". 
4. 
"Thou  shalt  lament   in  »rief  and  doubt. 
Thou  spake'st  with   him    at  all, 
For  thou   shalt  wear  the  sorry  c'.out. 
And  1  the  purple  pall'.' 
5. 
O  thou   sha't  curse  thy  Hay  of  birth, 

And  curse  thy    dam  anii   ure. 

For  1  shall    warm    me  at  the  hear'h. 

And    thou  shalt   feed  the  fire, 

CHORUS.  Blow   away  ye  morning  b-eezes^JcC. 


\at>-.    Ill  lUf  ••riKin.ll  ••(   llir  .ili,.ie    B.illiil    e,u  h    vi-f    i>.     rrpeited     nilli  Ihr     »..ri,<1i^.n   of   'I   !.l>..ll    ii.l"'f>  r"i  ^|M!!'' 

Sc>. .    Iliii..  aftfr  tht    fir..|    vrr^c    otni*'^, 

I  shall  nut  rue  the   very  hour 

That    e'er   I   kijew  th''  man 

But /will  ba_ke  th"  wheaten  tlour 

And  <h(>M  <:halt  bake  the  bran. 

It   seem.-    iiiitie«*'-.....it  \    !••    ;ninl    llif^e   rrp'-l il  iun>. 
?  S  #  l.1>;3? 


54 


THE  HEARTY  GOOD. FELLOW. 


JV«  26. 


H.F.S. 


i 


r7it-'r/'i///i/#=112 


^^ 


^^ 


^^ 


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•  •      P 


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fe 


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3S 


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-K N^ 


J     1.    } 


»       0         ■=»= 


»     • 


-• — *- 


•     «  W  =g==g 


?"       /■ 


I         s  id-dK'fl  mv  liursc  .md  u  -  M;iv        I      did    ride  Till    I    imiih'    tn    nu    ;»le-hoiiso  h.u-rl 


i 


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■         '    »• 


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•'  "f'^y """ ' '^T^' — ^" — r — '>' — I  — ^        -   •    ..    . 

liy    tlu'  niidsido        I   iMJl'd  i'nv    i     put       <ii    ale  frotliing' anHbfo\Mi  And  fjdsc  l)\  the  lircsidi'I 


t^^^^Pjhff^-fi 


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Repeat  m  Chorus 


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•  W 


s.it       ni\si.'if  down        SiMU,iii!i;  Tol        do    rol     l(d 


~7 ^ ' 

de     i'(d    dee  And 


de     ri)l        lul 


r^tm 


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^ 


1.:  < 


} 


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ill    ni\     |ji/ik   -    et      hid       one         pen     -      iiy.         '/Vmpo 


if '  ■>  'i  V  'i  ^  rr^ 


r> 


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'  I 

■9- 


■9- 

-9- 


P   (  *.  I  V  18.'' 


.35 

J^9J6.    THE  HEARTY  GOOD  FELLOW. 

1  N.i(itllod  \\\\  liorso,   iiiid  ;iw;>y  I  did  ride 
Till   I  canio  tu  lu   .ili.'-hiiiisi'   h.ti-d  li\  the  I'lcul-sidc, 
I  cill'd   Tor;!  ^>it  III   ik'- IVotluii^  .mil  liruuii, 
And  I'lose  liy   the    I'iivside'   I  s;i(    iii\s('lf  dnwn, 

SiM'4,iii^,  Tol-di'H-ii|-lul-dc-n)l  -ThI-cK'-i-oI  doi'! 

And  1  ill  iu\    pocket  had  ONE  PENNY. 
CHORUS:    Siiisj-iii;;,  Tlll-dl•^•lll   &r: 

2 

I   s  ,\\   tlu'ri'  t^'i   ^iMitleiiii'n    |jli\iiiji  ,i(  dii'i', 

Tlii'\   tiHik    WW  tn    In'  sciiiu'  iimIiIi'miiii    uii'c. 

With    iii\  s\wii'j,i'r,   mil    iMpiiT,   and  cniintouaiicr   liuld, 

Thi'\    thuii*j,lit  thai    m\    |jnrkets  were  well    lined    v^ith    ^uid, 

Sinjiin^-,  ThI-, i. ■-!■,. 1- l..|-de-rul-Tul-dv'-i-n|  dee! 

And  I  in   in\    jiorket      had    ONE   PENNY. 
CHORUS:    Sinuiii-,   Tnl-de-rol    .tr  .- 

3 

"A   hi"irt\    i^iHiri   rello\  ;'    the\    ^aid /'|i)\eth    |ila\'.' 
'"That   lies    with  the   stakes,    |jreU\    si  -s,    that  \on   lay" 
Then    line  said  "A  jJiiineaV    hut  I  said        "  Fi\e    Puaiid,"' 
The  het  it   WHS  taken  —  un    iiiniiey    laid  down. 
Sin- 111-.;^  Tul-dL'-rul-l'il-de-roi-T'il-de-nil  dee! 
Aud  I  iu   m\    pu.ket      had   ONE   PENNY. 
chorus:    Siii^iny,,  Tnl-de-nii    &r: 

4 

I  tiiok  ii|)  the  dire,  and   I  threw    them   the   mam, 
It   was  xei'v    '^.iijil  fiirinne  ,  t  h  it  e\eninji' .  to   ;;aiii; 
If  the\    had  a   won  , sirs, therfVlhcfnri  Imid  i-iirse 
When  I  threw  in   iianuht saw  a  niniu-vl'ss  pnrse 

Sinj,in<i     T.i!-de-rul-lul-de-riil-fMl-de-rul   dee.' 

And   I  in    m\    porket    had    ONE    PENNV. 
CHORUS:    Sinijinij,   Tol-de-rol    &r: 

3 

W;is  e\er  a  mm'tal   a  'jii  irter   as  ^I'd, 

With  the  little  of  HiMiiev  ;it  lust  that  I  had! 

A  heart\    i.^iiiid    lellnw  ,       is    must     men    o|)iiu' 

I    uii ;     SI)    m\    neii;lilMMirs    |ira\    ponr  nut   the    wine, 

Siiiuini     Tol-de-i-ul-  lul-de-rul  -Tn|-de-rn|  dee  ! 

And   I  ill    iii\    |)i.i-ket    had  FIVE  POUNDS,  tia't-. 
CHORUS:    Siiiiiiii^,   T'.l-ile-rnl    .«-.•.- 

6 

I  tarried  all  iii<iht,  and  I   parted    uext  day, 
Thinks  I  tn   mvseli',  I'll   lie   jojjiiiiiu-   awa\  I 
I  asked  1)1'  thi-   landlady    what   was    iii\    hill, 
'0  II  iiiuht  s  i\e  a  kiss  ul'   \oiir   lips,  if  \o(i   will!' 
Siii^iii'i  Till  lie  rol    hd  ile  i-ul    T'll-de-mi   dee! 
And   I  ill   m\    p-eket    had    FIVE    POUNDS   free. 

CHORUS;     Sin^in^,    Tol-de-rol -lol-de-nd    Tol-de-r.d-dee .' 
A:,l~liii  mv    pueket   had    FIVE    POUNDS,  free. 


P   4  *  .  I  1  1  S  .' 


.^^ 


THE    BONNY    BUNCH  OF  ROSES 


jYo^l. 


^ 


M 


H.F.S. 


V  a  •? 


[^  ;  IE 


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m 


^^ 


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^ 


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T^^EpS^f^rrt 


^Bi'-sirlf       tin'   r4)ll-in|i;       o 


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V    ^-.   *.N 


^ 


m 


as^pc 


F=^     "^ 


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-*^* 


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p 


itf 


m^ 


V        V 


3i:£ 


N-t- 


•      ■ 


^P 


^a= 


i'-U-^ 


^d 


ac! 


iiHi-iiiii:;    ill      tlb' Minnih   nl'  Jiiiic   I'lic   t'eiithLTcd   \\  irliliiiti-   suin^s  -  tcrs,  Weri'    sMcctK    i-i;iiit;ii 


i 


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m 


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f»     #     ■  =fc 


^     /     I  >      ^  ^  1^ 


^~»       I 


^ — r- 


imti'  and    tiiiio;  I  m-mt    hi'ird    i      d  uu^i'l     fiir    C(jiii-[)1  liii    111   \s"ids   of       bit-tiT  U'lCjAVitli 


4 r  rTu 


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«=3c: 


^ 


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ti' ir      cin       chi'fk,    she        thus     did        spi'ak  0!      fiir    tlii'     buii-ny  hiiii'h  of      rd-scs       O.' 


;  *-     I         I         i — — 

\         rail: 


^^H-^s-r 


<    I    ^ 


Is 


•     ■ 


^ 


-^— f- 


^^ 


C  4   V.  I1-48-.' 


m^  21.  THE  BONNY  BUNCH  OF  ROSES. 
1 

B^■•^i(l^?  tht'  ruUiiiff  ocean 

Oin'    iiiDniiii^   ill  the    iiioiitli   <il'    Jiiiu', 
The    t'e.ither'd    warhliiiji;  siiiij;!,t,.|s 
Were  sueetU    chuiiiijintj  note  and  tune. 
I  overheard  a  damsel  I'air 
Coni|>laiii  ill    Nmrds    of  bitter    voe, 
With  It'll-  (Ml  (dieek,  slie  thifs  did  speak, 
0  lor  the  h()iiM\    Hniich  uP   Hoses,  0.' 
2 
Thi'ii   ii|)  and    spake    lier    lover 

And    siTas|jed   the  maiden   liy  the  hand, 
HaNe    |jatienee,  Fairest,  patieneel 
A  K'tiiou    I  will  soon  eommand. 

I'll   raise  teu   thousand  soldiers  hrave 

Thro'  (Jain    and    jji'ril    I   will   j;o 

A  hrHiichvil!   break,  for  th\  sweet  sake, 

A  branch  uftlie  Ijonny  Bunch  of  Roses,  Oj 
3 
Then   sadK   said   his    mother. 

As  touu;h  as  truest  heart  of  oak. 
That  stem    that    bears    the   roses, 
AncI  is  lint  easy   bent  or  broke 

Th\    I'lther   he  essayed  it    first 
And    iKiu   ill    Fraiii-e   his  he.id  lies  low  ,• 
For  shir|)est   thinii,      is    ever  borne 
0  hv  the  Ixinnv  Bunch  of  Roses  ,  Ol 
4 
He  r.iised  a    mij^hty   arm) 

And   many   nobles  joined  his  thj-oiiji' 
With   pipe  and  banner  flung 

To  pliiek  the  rose,  he  mareh'd  along: 

The  stem  he  (oiind   was  far  too  toagh 
And  piercing  sharp,  the  tln'in,  I  tiow 
No  blossom  he    rent    from    the  tree 
Allof  the  l)oiniv  Biiiiidi  of  Roses,  Oj 

'O  mnther,dearest  mother! 

I    lie  npoii    my  dying  bed. 
And  like  nn    gallant  fit  her 

IVIusl    hide  .III  iiiicrowiied,  humbled    head. 
Let  none  hence  forth  essay   to  touch 
That  rose  so  red,  ur   full    of  wof. 
With    bleediiiL--  han.l    hell   flv    the    Land 

The  land  uf  the  boiinv  Bunch  of  Roses,  0.' 


«.ii  i«.' 


5>s 


THE  Old  singing-iyian 


jy9  2H. 


ffith  pathos 


F.W.B. 


s     < 


^^^^^ 


^      K     \      !v 


s*z:Mz 


w 


^ 


M  luMi  lulks  'ml    .1      list-iu'fl    t'< 


-» #- 


I  ri'ikoii    the  H,i\s    is    <k'  -  p.uii'd 


^m 


^gE 


^3 


i»— t 


^ 


^ 


^ 


^ 


^  ]■     Is    >.     S  ,^ 

-• — a — ^ ^ — a — • — "-^ 


=M5q 


N    \     k 


^m 


j^=^ 


^=¥^ 


? 


-• — #- 


me.       Ami  I  fooh  liki.' as   one    broken    heiuted  A  thinking  olwliit  ii-sitl  to  he.       .Vnil  I 


i 


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jv; 


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r; r- 


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I         I 


i 


^^^^ 


/   ^    a    J   ^    ^    ■    * 


=)C=fc 


=^=^ 


=5^=^ 


-• — •- 


lull  Kno« 


llrll  lie   .1  -  MIiMkIimI 


"^^  '?    J—j    ^^-  I  j 


Thiti  W;is   in  tlii'se  imr'rv  old  times  W!ien  wr 


*;    *;     < 


m 


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i 


Chorus 

Or 


m 


4    f       r 


-» — •- 


d    * 


•      y — '^ — 7 — 7 

pipes  uDfl  i^iiud  ,ile  folks  ;it-ten-ded 


r3  7T1 


To     me    .itjd    \\\\     |JM r-t\    old    rh\mes,  .   .   .   To 


^•''  ilr'5^^ 


©I 


w 


5^^ 


4    m 


te 


i*    m 


^^m 


r    'i. 


i 


,—     t    «•- 


(jur  -   ty        old    rfi\nies. 


*    "  <*[ 


^m 


f^p 


f,  «  w.in-»-.' 


59 

,y'>  28.    THE  OLD  SINGING-MAN. 
1 

1   reckon  th-;  days  is  d-'parted, 

Whsn   folks  ud   a   Iisteri'-d  to  ii.r;. 
And  I  fei^ls    like    as   one    broken-heartr;d, 

A-thinking   o'  what    us-^i   to  be. 
And    1    don't    know  as   m'lch   be   amended, 

Than   wah    in   them    merry   old    Times, 
When,    wi'  pipes   and   good  ale,  folks  attended, 

To  me  and    my   purty  old   rhymes, 

CHORUS:    To  me  and  my  purty  old  rhvmes. 
2 
'Tis  true,   1   be  cruel  asthmatic 

I've  lost  every   tooth  I'  my  head; 
And    my    limbs   b>^  that  crim'd  wi '  rh'-um  itic 

D'rsay    1   were    better   in  bed. 
Oh  my!    all  the  world  be  for  readfng 

Newspapers,  and    books  and  what  not; 
Sure —'tis  only    conceitedness     breeding, 

And  the  old  zinging   man   is   forgot. 

CHORUS;    And  thr  old   singing  man  is  forgot. 
3 
I  reckon   that  'A  i     my   brown   fiddle 

T'l    f;o   from   this   cottage   to  thit; 
All   the   youngsters  'ud    danc^-   in  the    middle, 

Their  pulses  and  feet,    pit-a-pat. 
I   cu'd    zing,    if   you'd    stand    me  the   liquor, 

Alt   the  night ,  and  'ud  never   give  o'er 
My  voice — 1  don't  deny  it    getting  thicker, 

But   nev^i'r  exhausting    my  store. 

CHORUS;    But  never  exhausting  my  store. 
4 
'Tis  politics    now    IS   the    fashion 

As   sets   folks  about   by    the   ear. 
And  slops  makes  th^   poorest  of  lushing, 

No  zinging  for  mr    wi'out    beer. 
1   reckon   the  days  be  departed 

For  such    )Olly    gaffers    as   I, 
Folks   never   will  ht   so  light-hearted 

.As  they   was  in  the  days  that's   gone  by. 

CHORUS:    As  they  was  in  the  days  that's  gone  by. 
5 

0  Lor.'    what    wi'   their  edication. 

And    me  —  neithi^r  cypher  nor    write; 
But   in   zinging    the    br'St   in  the   nation 
And    give   the   whole   parish  delight 

1  be    going,    I   reckon,  full    mellow 

To  laiy  in  the   Churchyard    my   head; 
So  say  —  God    be    wi'  you,   old   fellow.' 
The  last  o'  tho    Zing-rs    is  de,\1. 

CHORUS:    Th-  last  o'  the    Zingers  is  dead. 


hO 


THE  TYTHE-PIG 


.r^^.9. 


F.w.B. 


H^ith  huinmii ,  nut  tuo  fusf 


^''•»^OT 


^  « 


i^f  f  i  ."  J- 


K — N  ^|  s 


^•ju.    rif  ;  ^^^  J^^'-^ 


•" — ^ — >- 

\oii    th:it  lo\i'   :i     liit     of    riiii.C'unii' listiM]  hi'ii'.i-wliile       III    tell  joii   of     ;i    di-dll    afl'iiir, Tuill 


i^ 


^ 


I 


:a 


f 


-+- 


-•-y 


«K 


:*=S*: 


i 


?^ 


^   i!  '   r   r:^ 


^.       ,  ,  ^    -   "r~F"    V     /     ^     r     /■     r  \^     V     / 
caiiso  )on    ;ill    to      siuiK'    Tliu    P.ii'son  divst  all    in   his  iK'slCdik'd  liit  and  bnshj    wig,      Hi^ 


^^n  j..',Jh^rn   ill  I 


i  ;^-'...J 


I      I      I 


^^ 


^=F 


i 


-K-^ 


^-A^ 


;■ :  J"  / ;  J'  ^ 


r  r/  i-i :  ;  ^ 


■    * 


*     f 


lit    iii-tii      .1      furmori  (iiiiiso.  lu  choose'   a   siickiiii;;  |)i<^.  (tood  iiuniiiii^,  siid  tlic  Pirsoii,   good 


ii^'^^^^ 


■  feJ  ^4 


'  ^'  ^  a  '' !.;  J  J 


1"^-^tir7 


=5P^ 


^ 


^ 


Hompos'). 


-^    J      ^      V      M  J 

^  ^  J  J.  ;.*^=g 


^^ 


'■>    J        >    =g: 


?.r-     f 


P 


*i    J 


=;^=^ 


¥=^ 


iiioniiiiu     sir      h<    ytn  I'm  cmiiu'  to   tike  a     siickii)^' Pij(,    a.    |)iii  tli  if    is    iii\    d 


le. 


f  i  *.  ivva-j 


61 


jVo^g.     THE  TYTHE-PIG, 


p  i  V.  in-s-f 


All  you  that  Iovh  a  Dit  ot'  tun,  come   listen  her-^  dwhil-^, 

I'll   tell  you  of  a  droll    dfiair,   will   cause  you   all  to  smile. 

The    Parson  dressM,  all  in   his   best, 

Cock'd    haf  and    bushy    wig, 
He  went  into  a  farmer^  house,  to  choose  a  sucking   pi^ 

Good    morning  said  the   Parson;  good  morning, sir, to  you! 

I'm  come  to  take  a  sucking  pig,  a  pig  that  is   my  due. 
2 
Th-n  went  the  t'armer  to  the  stye,  amon'^st  the   piglings  small, 
He  chose  the  very  wee  est   pig,  the  wee-est  of  them    all  ; 

But  wh-!n  the  Parson  saw  the  choice. 

How  he  did  stamp  and  roar.' 
He  snorted  loud,  he  shook  his  wig,  he  almost  — cursed  and  swore 

Good    morning   &c: 

3 
O  then  out  spake  the   Farmer,  since  my  offer  you  refuse 
Pray  step  into  the  styeyourself,  that  you  niAy  pick  and  choose. 

So  to  the  st>e  the  Priest  d:i    hie, 

And  there  without  ado. 
The  old  sow  ran  with  open  mouth,  and  grunting  at  huu  flew. 

Good  morning  &;c: 

4 
She  caught  him  by  the  breeches  black,  that  loudly  he  did  cry 
0  help  me!  help  me  from  the  sow  lor  surely  I  shall  di-. 

The  little  pigs  his  waistcoat  tore. 

His  stockings  and  his  shoes, 
Thi   Farmer  said,  with  bow  and  smile,  you're  welcome,  sir, to  choose. 

Good  morning  &c: 

.5 
Away  the  Parson  scamper'd  home, as  fast  as  he  could  run, 
His  wife  was  standing  at  the  door,  expecting  his  return. 

But  when  she  saw  him  in  such  plight 

She  fainted   clean  away, 
Alas!  alas!  the  Parson  said,   I  bitter  rue   this  day. 

Good    morning,  A:C; 

Go  fetch  III--  down  X  suit  of  clothes,  a  sponge  and  soap,  1  pray 
And  bring  me,  too,  my   greasy  wig,  and  rub  me  down  with  hay 

Another  time,  1  won't  be  nice. 

When   gathering  my  dues 
Another  time  in  sucking  pigs,  I  will  not  pick  and  choose. 

Good  morning,  said  the  Parson,  good  morning, sirs, to  you, 

1  will  not  pick  a  sucking  pig  —    I  leave  the  choice  to  you. 


62 


lYlY    LADYE'8   COACH 


J^'/  -W. 


H.F.S. 


^       JMyatt-ritjiislif   «  =  104 


*/• 


t^P 


Jf 


^=* 


1 


— -U.- 


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63 

.V9  SO.     MY  LADYE'S  COACH 
1 

MV  Ladyf!  hath  a   sabl>i   coach, 

An.i    horsrtstA-o    ami  t'our, 
My   La'iy't  hath  a  f;aunt  bloo'l-lioun.i, 

Tli.it  runn-'tli  on   b^'t■ore. 
My    Lviy'''b    Cjach   hith   iTj^idinj;  plumbs, 

Til"    irivt^r   hith   no  ht^ad, 
.My    La'lvr   IS    an    ashrin    vhltr;, 

As    ont^  that   long  is  ^li-a  i  . 
2 

Now   pray  st'^p  m  !  my   Lay  1-^  salth. 

Now  pray  strfp  in  .in^i  rilr;. 
I  thank  ther"    I    ha^l   rath-^r   walk: 

Than   gath-^r  to  thv   siHe. 
The  wh'^fils    go  round    without  a  sound 

Of  tramp  or  turn  ot  wh-^r^ls 
As  clour)     at   ni'i;ht,in    pal-'  nioonli^ht, 

Along   th-^  carriag''  ste.ils. 
3 
Now  priy    step  in!    mv    Lady^    saith, 

Now  prithee  come  to  m^-  . 
She  takes   the  baby   from   the  crib, 

She   sets  it  on   h-r  knee; 
The   wheels    go  round,  ic: 

4 
Now  pray  step  in!    niy   Ladye   saitli. 

Now    pray  step  in   Aiid  ride. 
Then  ijeidly    pale,  in   waving    veil. 

She  takes  to  her  the  bride; 
The  wheels    go  round,  icc: 

5 
Now  pray  stf-p  in!    my  Ladye   saith. 

There's  room   I   wot  for  you, 
She  wav'd   her  hand, the  coach  did   stand. 

The  Squirj  within  she  drew. 
The  wheels  go  round  Jcc: 

No'v  pray  step  in!    my   Ladye  saith, 

Why   should'st    thou  trudge  afoot.' 
She  took  the   gaffer  in    by   her. 

His  crutches  in  the  boot. 
The  wheels   go  round   A;C: 

7 
I'd   rather    walk   a   hundred    miles 

.■\nd  run  by  night  and  day 
Than  have  that  carnage    halt    for   me. 

And    hear    mv    Ladye    say    

Now  pray  step  in  and    make  no  (iin, 

Step  in  with  me  to  rid"; 
There's   room   Itrow,    by  me  for    you 

And   all  the   world    beside. 


P  »  «.  |.1.'1.8.> 


r,  1 


JANS    COURTSHIP. 


jV.^  si. 


H.  F.  S, 


Wifh  qrav-hntr.rtur 
I 
•  •r  11. 


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Ci'iili'    ^it  (|n\Mi    h\     MU'    and   iiu    sf(i_r>    shill  li^',-      III     t"II  li"W    tn   y,i't   thee    .\ 


P  *    iV.  I  VIH' 


X^^.jf.  JAN'S  COURTSHIP. 
1 

Com^^  hither,  son  -JdiiJ  since  thou  art  a   man, 

I'll    gi'e  the  best  counsel  in  life. 
Come,  sit  down  by  me,  and  my  story  shall  b-', 
I'll   tell  how  to  get   thee  a  uit'-'. 
Iss,  1  will!  man- 1  will! 

Zur-   I  will! 
I'll  tell  how  to  ^et  thee  a  wit-!    Iss,l  will! 
2 
Thy  self  thou  must  dres=  m  thv  Sunday -go-best ; 

They'll   at  first  turn  away  and  be  shy. 
But  boldly. kiss  each  purtyniaid  that  thou  see'st  , 
They'll  call  thee  th-'ir    Love,  by-and-bye  . 
Iss,  they   will!  man, they  will! 

Zur--  they   will! 
They'll  call  thee  their  love  by-and-bye!    Iss.th-v  will! 
3 
So  a  courting  Jan  goes  in  his  holiday  clothes. 

All   trim,  nothing  ragged   and   torn. 
From  his  hat  to  his  hose,   with  a  sweet  yellow  rose. 
He  looked  like  a  gentleman  born. 
Iss  he  did!   man  he  did! 

Zure  he  did! 
He  looked  like  a  gentlemin  born!    Iss  he  did! 
4 
The  first  V'r>^tty  lass  that   -Ian  did  see  pass 
A  farmer's  fat  cl.iughter  called   Grace. 
He'd  scarce  said  'Ho.v  doTand  a  kind  word  or  two. 
Her  fetched  him  a  blap  in  the  face. 
Iss, her  did.'man,  her  did! 

Zure  her  did! 
Her  fetch-d   him  a  slap  in  the  face!    Iss,  her  did! 
5 
As  -Jan,  never  le.uing  o  nothing  at  all. 

Was  walking  adown    by  the  locks. 
He  kiss'd   the  parsons  wife,  which  stirred  up  a  strife 
And   -Ian  was   put   into  the  stocks. 
Iss,  he  wasl   man,  he  was! 

Zure  he  was! 
And  Jan    .vas  put  into  the  stocks !    Iss,  he  was! 
6 
'If  this  be  the  way.  iiow  to  get  me  a  wife 

Quoth    Jan,   I   will    never   have     none 
I'd  rather  live  single  the  whole  of  my    lite 
And    horn--  to   m>    mammy  I'll  run 
Iss,  1   will!   man.l  will 

Zure   I   will! 
And   home  to  my  mammy  I'll  run!   Iss,  I  will. 

>  (  *.i4V8* 


THE    DROWNED   LOVER 


J^i'  S2. 


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^VC>.j^.  THE  DROWNED  LOVER. 

1 

As    I    \\  IS   J-\\;lllvil|u     (liiwil     |!\    till'    s^'.|-^|)l)|■l', 

W  {iiic  till'  "iiids   \\lHstK'd  hijih,    iml  the  \\;iti*''s  did  ruir, 

W  I.Tii' tlu'  winds   wliisth'd    lii^h,  ,iiid   the  waves  ri^erl  iimiiiKl, 

I  hi'.ii'd  A  i\\v   111. lid   mike  .i  Ijitil'iil  suiiiid, 

Cr\iii>;',  ()!     iii\   lu\e  is  di'ciuiiedl 

INT\    lii\e    must    I  defjloie! 
And    I   ik'M'r ,  ()!  never 

Sliill   M-e    iii\    love   iiinre.' 
2 
I  ue\er   n   nobler,  ,i  (rner  diil  see 
A   lidti   in   ciinr.t^e,  Imt    '.^'entl-  tn  me. 
All  cNe   like  an    e;iu|e,        a    lieal't  iik«'  a    dove, 
And  the  sonii  th.il  he  s.im<;-  me  M;is  e\er  of  InM- 
Nou   lei'\,0!   iiu    lu\e  is  dr  iNuied  I 

M^    lu\e    must   I  dejiloii'  J 
And    I   never;    O.'  ue\er 

Sli.ill   stH!    my  love    iimre! 
:i 
Hi'  is  Slink  in  the  waters,  there  jii^s  he  ,isKn'|i, 
I   uill    pliinjie  there    is   well,  I  will  kiss  his  cnjil  feet, 
I  "ill     kiss  the    white  li|)s,  onre   cur  il-li  k'"  red, 
And  die.it    his   sidr. ,  I'or  m\  t  rin'   lii\c  is  di'id. 

Now    Irr\,()l  in\    InM'  is  drnw  lied. 

iM\    lo\e    must    I  de|)lore 
A  lid    I  ne\er;  ().'  iie\er 

Shill  see   m\   lo\e  more! 


r  i  A   1  1  I  8'.< 


CHILDE     THE    HUNTER 


Ay  -is. 


H.F.  S, 


P  *  ^.  I  t  !^-.' 


89 

m^S^i.  CHILDE  THE  HUNTER 
_ 

Com-,  list-en  all.   both  Ki>;dt  anl  sindli 

To  you  a  tal-e   I'll    t'lll  , 
Whit  on  this   hl'^ik    .i:i'l    barr-n  moor, 

In  ancii^nt   -i.ivs    bt-tV-U. 

It  so  b-Tffll.  J^    I'v-  hr-ar'l   tpll.  . 

Thtv.  CdP.-.'-  th»  hunt-r  ChiH", 
All    Hay  W  chased   on    h-!dth  and   '.vast-. 

On    Dart- .1 -moor    so    wiM. 

Thr;  winds  did   blGA,th''n  i-ell  th-e  snow, 

He    ch  is-ed  on    Fox-tor    inir-e; 
H"    Ijst   his  .vay,  aul  s.iv  thr  day. 

And    wintr;r's  sun  -expir-^. 
4 
Cold   blew  th>-  blast,  th-e  snow  ifll  fast, 

\nd    dirk-r   yx-tvi   thf^   ni^ht; 
H-f    vandered    hlgh.h-  w\nd-r>'d   lo.v. 

And    novh-r^    s  in-  a  light. 
5 
In  darkn''ss   blind,  li-  could  not  find 

Wh-^r-e  ho   iscapf^  inii^ht   S'"n . 
Long  tim--  Ii-  ti"!'-;d.   no  track  ►'spiod, 

His  1  ibjijrs  all   in  vam  . 
fi 
His    knlt>  h^r  drr;v,  his  h^rs-   h-  sl-w, 

A.-,  on  th-  j^round   it  l.iv; 
Hf?  cut    full  de-fip,  th-r-^in  to  cr-ir^p. 

And  tarry  till  thu  day. 
7 
Thf   winds  did   blow,   fast   irtW   iW  snow. 

And  d\rk-:!r    ^rr:.\!  tli-e   nt£;ht , 
Thf.n   well   h-  wot,  he  hop-  might   not 

A  :^ain   to  see   tli  '  light  . 

So   with    ills  finder    iii'p'd  ;n  blood. 

He   scribbled  oi.  th>!  ston-s, 

"This  is  mv   will,   God   it  fulfil, 
\nd    bun-'d  be  inv  bjnes. 
^> 
"VVhoe'ei    he  b--  thit  fin  let h   m- 
And  brings  to  a   j^rav-, 
Y\\'-  lands  thit  no-v  to  me  belong. 
In    Flvmstock     he   sh.ill    have." 
1(» 
Tiier?    was  a  cross  erect-.d   then. 

In   memory  of  his   n.ime; 
And   there   it    stands-  in    wild     vaste   lands. 
To  t.estifv   th--  sa-ne. 
/'  i  n.  !  V.i  s-.< 


7(1 


THE   COTTAGE    THATCHED  WITH   STRAW. 


.\*:^  SI. 


F.  W.  B, 


Wi'h    /••♦■'rmina'i  .11 


>.  it    it  liis(li)or,Aiinlfl  rirmiTiiiiH  thns  s;uii^  he,  Mitli  m\  |)ipi>aiiil  fii\  ;^l:iss,I  wish  evi'ryi'Jiss.Oiith'' 


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.V.^  -^4. THE  COTTAGE  THATCHED  WITH  STRAW. 


"  i  *.l  j+d-? 


In  thf^  ijaysot'  yorr;,  th-^rr;  sat  at  his  door, 

An  old  t'armer.  and  thus   sang  he, 
'With  my  piprt  and  my  glass,  1  wish  •ivery  class 

On  iht  earth  were  as  well  as  me!' 
For  he   en-vi-ed    not  any   man  his  lot, 
The  richest,  the  proudest,  he  saw, 
For  he  had  home  brew'd — brown  bread. 
And  a  cottage  well  thatch'd.  with  straw, 

A  cottage   well  thatch' i   with   straw, 

A  cottage  well   thatch'd  with  straw,- 
For  he  had  home-brew"d,     brown    bread, 
And  a  cottage    well  thatch'd  with  straw. 
2 
My  dear  old   dad   this  snug  cottage   had, 

And   he  got  it,   I'll   tell  you    how. 
He  won  It,  1  wot,  with  the  best  coin    got. 

With  the  sweat  of  an  honest  brow. 
Then  says   my  old   dad,  'Be  careful  lad 
To  keep  out  of  the  lawyer's  cla.v. 

So  you'll  have   honie-trcw'd  brown   bread. 

And  a  cottage  well   thatch'd    with  straw. 

A  cottage  well  thatch'd    with  straw,  jcC: 
3 
The  ragged, the  torn,  from    my  door  1  don't  turn. 

But  I  give  them  a  crust  of  brown,- 
And  a  drop  of  jood  ale,   my  lad,  without  fail, 

For  to  wash  the  brown  crust  down. 
Tho'  rich   I  may  be,  it  may  chance  to  me, 

Tliat    misfortune   should  spoil   mv  store. 
So  —  I'd   lack  home-brew'd  —  brown  bread, 
And  a  cottAge  well    thatch'd    with   straw. 

.A  cottage  well  thatch'd   with  straw.  i:c; 
i 
Thin  in  frost   and  snow  to  the  Church  I  go. 

No  matter   the  weather  how. 
And  the  service  and  pray^i"  that  I  put  up  there. 

Is  to  Him  who  spe-ds       the  plou'^h. 
Sunday   saints,  i 'feck, who  cheat  all  the  week, 

With  a  ranting  and  a  c\nting  jaw. 
Not  for  them  is  my  home-brew'd  —  brown  bread , 
And    my  cottage  well    thatch'd   with  straw. 

My   cottage    well  thatch'd    with  straw 

.My   cottage   well   thatch'd   with  straw. 
Not  for  them  is  my  home-brew'd  — brown  bread, 
And  my  cottage  well  thatch'd   with  straw. 


72 


CICELY    SWEET 


jY'.'So. 


H.  F.S. 


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Si  _    ninii!      ^ii!     fjo?      jJii! 


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Wilt     ttiiiii   l)c  iiiiiic    ni-     N"? 


wilt    thou    bi'iiiirie?  Vfs       i>r      \(t? 


K9  66.  CICELY    SWEET. 


1 

HE. 
Cicely  swi^et,  the  morn  is  fair. 
Wilt  thou  drive  m-i  to  despair? 

Ott  lidve  1  suf-d  in  \Min 

And   now  I'm    come    i^din, 
Wilt  thou  be  mine,  or  Yes  or  No? 

Wilt  thou  be  ni:ne,  or  Noi 

.^ 

Cicely  sweet,  if  thou'lt  love  me, 
Mother'll     io  a  deal  for  tlv^e  . 

Herd   ratlier  sell  her  cow, 

Thar.  I   should  die  for  thou. 
Wilt  thou  be  mine,  or  Yes, or  NoV 

Wilt  thou  be  mine,  or  NoV 
•J 
Cicely   sweet,  you  dome  wrong, 
My    legs  be  straight  ,   my  arms  be  strong 

I'll   carry  thee  about, 

Thou'lt  go  no  more  afoot, 
Wilt  thou  be  mine,  .tc: 


2 

SHE. 


Prithee,  Simon   quit  thy  suit. 
All  thy  pains  will  yifl  i  no  truit; 

Go  booby,  get  a  sack. 

To     stop   thy     ceaseless  clack 
Go  for  a   booby,   °;o,gG,  go! 

Go  for  a  booby,  go! 
1 
iMother  thine  had  best   by  half, 
Keep   her  cow  and   sell    her  calf; 

No,  never  for  a  crown; 

Will    I    marrv    with  a  clown; 
Go  for  a  booby,  go,  go, go! 

Go  for  a  booby   jo! 
(5 
Keep  thy  inns  to  fight  in  fray, 
Keep  thy  ■►'gs  to  run  away; 

Ne'er    will    I—  as  I'm  a  lass, 

Care  to  ride  upon   an  ass 
Go  fo:  a  booby  .V:c; 


P  iW.H  vtt»> 


74 


A    SWEET    PRETTY    lYlAlDEN. 


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d:i(l_f)v      is     sii       iTiiss;  Thiit     i       hus  _  h  mil    Im     ccr  _  f.tiii   i'miiM    tie    _    vi>r      hr  wnrsi 


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P  &  *.  1+V8! 


J^o  S6.     A   SWEET  PRETTY  MAIDEN. 


A  sM^'^'t   prett\    mirVli'ii    sit    iiiidn-  ,i  tree, 
SIk'  si^hi'd   iiiH  Slid  ,  Wiiiild  tli.it    I  ni  irrird    mi^ht  lie! 
iVl \    iii.imniy  is    so  cr.ihh'H    .md    iii\   didd\    is   su  cross 
l^h.it   a  hiish.tiid  lor  i-iTt.iiii  i-niild   ihmt  l>r   Morse. 

2 
111  drIld^^'  ill  thi'  kitrdcu,   I'll    bikr  .lud   I  11  ln•l■v^, 
A  cradle  be  rockinjj  tlu'  «e;ir\   iii;i^ht   throiijih. 
A   hiisbdod.he  may  scold,  hi-  is    ui'k-onie,I  agiue, 
If  that  only  .i  hiisbuiid   be  granted   to  me. 

3 
M\  husband  iiui\  beat  me,    I  little  will    mind. 
If  oiilj  a  liusb.ind  to  be;tt   me    I   find. 
My    fingers    I   will    work,  I  «ill  work  them  to  the  bone. 
If  I  g^L't    but  .1  husband   ami   home  of  my  ouu. 

4 
A   husband  the\  tell  me   will    make  me  his  slave; 
So  be  it  if  only   a  hiisb and   I  have. 
A  sweet  pretty    maiden  sat  iiuder  .i  tree, 
Singing,  0  coiiie  and  m. wry  ,  O,  come !    m.irry  me! 


'kit.  ins* 


7fi 


THE   GREEN   COCKADE. 


^9  S7. 


H.F.  S. 


Hhiiii^vi-lQ  ,  d  -  nn 


m 


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i»       m 


A  _    I. IS     m\       lo\r's     oil    _    list  ,  eil 


He    wears    a      jfrri'ii      cDck  ^.iHi' 


H. 


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*  is      :is      tii\      ;i        ^Ml-lirit  as       m   _   riy    rov- iii^'  lihifle;  Hi''s    5i,<iiio  tin'  kiiiii;'    .1 

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sppv    _   iiji^-     the jjjreen  corka'l*"     ti)     wear;     Mliilsf  my    pnor  lu-irt    is  hre.tkiiii^,    Fi 
1=1    ^       «       g     ^ 


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?  i  W.  I-!  Vd-l 


77 

.yo  St.  THE  GREEN  COCKADE 
1 

Alas!    my    love's  -rnlibtrd  , 

He  wears  a  green  cockade. 
He  IS   ds    gay   a   f;illant 

As  any  roving  bUHe. 
He's    gop.''   the   k;ng  a  sen-ir.g, 

The  green   cookd'ie   to  '.vear  , 
Whilst   my   poor  h-jrt   is   bretkmg. 

For  the  love  to  him    I  bear. 
2 
"Leave  ott'   your   gri-'t'  ani  sorrow. 

And  quit  this  .ioletul  strain. 
T!ir   gi'-t'n  co^kad"    aiorns  me 

Whilst    ii'.arching  o'er  the    plain. 
Whe'i  1  yturn  F'.l    ni.irry. 

By   this  cockai1>r   1  swear. 
Your  hrrart   t'roiu   griet'  must  rally, 

AnA   n.y  departure    brar." 
3 
"Fair   maid,  1  bring  bad  tidings;' 

So   lid  the  S'-'-g-anl  say, 
"Your  love   was   sl.in  in  battle. 

He   sends   you    this  to-da',  , 
The  5rf;en  cockile  he  t'loarlshed. 

Now  dabbled  in  his  gore. 
With  his  last  kiss   he   sends  it. 

The  green  cockade    he  wore!' 
4 
She  spoki-   no   word    her  tears. 

They  fell   a  salten  tlood; 
And  from   th'-  draggled   ribbons 

Washed   out    the   stains  of  Wood. 
"O    mother    1  am    dying! 

And   when   in   grave  I'm    lail . 
Upon   my   bosom    mother! 

Then    pin  tht.   gr»;en   cockade." 


»  i  *.  I ;  n' 


7s 


THE    SAILORS    FAREWELL, 


.V('  S8. 


F.  W.  B. 


With  mark-'i  ■•n.'i'i'.ix . 


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wi'll,   r.irL'_\M'll      tiij        Pol    _    l\  (li'.ir,     A         tliiHi    saii'l   tiiin's     a  _  dicu; 


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s:t(l     to      [j;irt      liiit  lio  _   viT    fiMi'.'i'iiNr       s;iil  -   (ir      will       he         triiL", 


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III)  ;i_rr.ii(l,     in\        (iwii   s«eetmii(|   \'i!ir        fii-e       III    sr 


mure. 


PiA.llVS^        Thr    li  uiii"nif~  "I   llii-  1 1-1  Iwii  lines  iiMV  bp  v.irif  il  .t~  ill  the   in  I  r'.ilm  i  ii.n  . 


79 


jy?  S8.    THE   SAILORS  FAREWELL, 


A  tlluiisainl   tiiiic-s    .idii'ii  ! 
'Tis  sad   t'l  |Jii-t;  liiit   iu'\er  li'ir, 

Ynnr  s.ulni-    w  ill   in-  ti'iii>. 
Aiifl    must    I  Jilt,  iiini    ii'iVf   v>"  i>"i  — 

Wliili'  thntid'riii^'  billows  nmr  ^ 
I  ;im  .itViicI,  in\  lAMi  swc^'t   iiiaifl, 

Vnin-  r.H-l'    I'll    s>'<'    III)    iiinrc. 
2 
'I' lie   \M':i\i"rs   .\\)A  the  t.iilnrs 
Ari.'  siiKiiii;;  l.tsl  ,isti'i'|), 
Wliili'  \M-  |«Hir  ')iill>   siiliirs' 

Arr    tnssiii<4^  1)11   tin-  (li'i'|i: 
All'  (nssiiiji  OH  till'  (lei'|),  (k' II-  sirl. 

Til  ti'Mipi'st,  iM'^i'  aii'l    t'o;iin; 
Wlu'ii   MMs  I'dii  hijili,  :iii(l    d.n-U    1  lie  sk\  , 
We  tllinU  on    tlioM'    it    Iuhik' . 
3 
When    J.ii-k's  aslioi-i',   sill'  lionu'  onrc  mciro, 

Wi'  li'id    1   iiuTi'V    li  I'e  . 
With    |)i|'i'    viid   }i,l  is'^.   ■md    lnixoui   liss, 

A   s\M'i'tlu':irt  or  .1   will" ; 
Wc  r.ill  lor  linnor  iiirrri  l\ , 

Wc  bijiMid  oiii'   aiun>'\    fri'e, 
And    whiMi  our  iiion-cys  spout  ;iiid  ii"«iii\ 
Au  I'n    ^'''  '-"  til  M'l  ■ 
4 
Yofill    not   know    w  hi  ,  c    I  iun.de.ir  y,irl  , 

But    wluMi   I'm  on  the  m-.i, 
iVIy  si'iTi'f  thou 'jilts    I  will  iinl'url 

III  Ictti'rs   homo  to  tb^e. 
'['Ii.'  M'cri'ts,  .i\c!    Ill'  hoirt.I  s;i>  , 

And   lo'st  of  ni\    Jl'ood    will. 
M\    !"id\    ini\    l;i\   just   wlnMV  it    miv 
M\     luMl-t    IS    Wit  h    \oii    still 


p  i  n.i  I  is-i 


8(t 


vV?  S8. 


THE  SAILORS  FAREyVELL, 

(SCENA,    Ouet  &  Cl.orus.) 


F.W.B 


l^ife-i^ 


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-^rzinSr^ 


^O   J   Jl  *    J 


US 


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TESOR 


-^- — ^  l"'"^^*  w 


li 


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5=^1* 


Fan'  _  well,       ftn>_well,         \c    iiin'il  _    eiis.di'ar,   a 

^       —        '  ^l  J.        '>  ,   I    I    I, 


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(hull .  saud  times    i    _    dii'ii! 


'Tis        bad ti»    pari:    Imt...    u'^   _    verfear,    )uar 

^  0  gi>-^     !     ,   n — n^ 


'^^m 


mit-i^-^-r--^^^r^' 


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P  !  *.  1 1 VS? 


.  diea 


'Tis      sad     to    part,       but     ue_\er  fear,  \0(ir 


be 


true. 


,r?S8.JH£    SAILORS   FAREWELL. 

2'.".'  VERSION  AS  DUET  .USD  CUURIS. 


Tenor.  Farewell',  farewell ,  my  HollvJearl 
A  thousand  times  adieu'. 
'Tis  sad  to  part;  but  never  fear. 
Your  sailor  will  be  true. 
Snpr.  And  must  you  go  and  leave  us  so, 
While  thund'nng  billows  roar. 
1  am  airaid  that  I,  sweet  maid. 
Will  see  your  face  no  more, 
f/iorus.  Farewell.'  farewell  ye /sailors    ,  .i,;^^; 

'maidens' 
A  thousand  times  adieu! 

Tis  sad  to  part,  but  never  fear. 
Your  r^"^'^"^^)  will  be  true. 


^sailors 


Snpr.  The  weavers  and  the  tailors 
Are  snoring  fast  asle^^p, 
Whilst  you  poor  sailor  boy^ 
Are  tossing  on  the  deep. 
T<  n.  Are  tossing  on  the  d-ep,  dear  girls, 
In  tempest,  rage  and  foam; 
When  seas  run  high,  and  dash  to  sky. 

We  think  of  those  at  home. 
Chorus.  Farewell!    ferewell!  £c. 

P.  iw.  insj 


Ttn.  When  Jack's  ashore,  safehome  once  more. 
We  lead  a  merry  life. 
With  pipe  and  glass,  and  buxom  lass, 
A  sweetheart  or  a  wife. 
.Soyir.   You  call  for  liquor  merrily, 

Yo'i  spend  your  money  iree. 
And  when  your  money's  spent  andgon". 

Again  you  go  to  sea. 
Chorus.  Farewell!   farewell.'  &c. 


w^ 


THE    FORSAKEN    lYlAIDEN. 


JV.^  -^.9. 


H.F.  S 


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Tr-» 


X 


ii_di"ii     sat       :i        \\i'('|)_iiijf    DinMi        by       the        sr  i  -   shnre    ^\l^;lt 


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•^       ails        iiiv  pri't_t\        mis  _tresss\Vliat  ails     mv  pretjy      mis  stress  M  hit    lils    my    prct.tj 


i 


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lis.fress    ami         m  iki's  her  lu'art    sore! 


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L^-l    Verse. 


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lii    s|,re:ir|    m\       sail       uf        sil    _    ver  III      sti-er         fn -ward    the     sni 


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r.ilsi!   love  wilt  weep    fur 


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Aii'l     thuii      f'.ilse  Ioxi'vmIi  weep  fur   me       And 


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— ^~~^ 

thiiN    i.'.lse    liivewilt  %\eepfi)r    me    For 


me 


when    I 


am    gone. 


^ab 


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JV^a>9.     THE  FORSAKEN  MAIDEN. 
1 

A    mAideu  sat   ;i  weepiii";; 

Down   by  tile  sea  sliore, 
Whit  ;iils    my   pretty   mistress? 
What  ails   my    pretty    mistress? 

Auil    makes    hei'   heart  sore.' 
2 
Heeanse    I  am    a-wearv, 

A  weary    in    mind, 
No  comfort,  and    no   pleasnre,  love, 
No  comfort,  and    no  pleasnre, love 

HeDceforth    can  I  find. 


r 


p  i  «.  I  iia* 


I'll  spread  my  sail   ot"    silver, 

I'll   loose   my  rope  of  silk  , 
My   mast   is  of  the   cypress-tree, 
Mjf    mast   is  of  the  cypress-tree. 

My  track  is  as  milk . 
4 
I'll    spread    my    sail    of   silver 

I'll   steer  toward   the  sim 
And  thon,  false  lo\e   wilt    weep  for  me. 
And   thon,  false   love    wilt    wtep  fur  me, 

For    me  —   when   I  ;im  gone. 


Hi 


THE    BLUE    KERCHIEF. 


X"  W. 


F.  W.  B 


Ch-irfuHy. 


^^ 


s.        V 


*  m 


m 


m 


^ 


-•-=- 


-• • ^ 


I  s:i«         A       swi'ct   mii     'liMi      trip       o  _  mt      thi-        lo:t,  Her 


# 


ri  -  n 


'^    t    t 


Az 


p 


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±3=8= 


■        * 


S  K. 


J    .r;  I  .^-^ 


^ 


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=e= 


V — ^ 


'\i's  were    as      lo;uLsfiiin^s  at  _  trai'-tiii^-    of      me.       Hrr  clu'ckswere  the      ro_si's      that 


^'  -'    fl    -'  ^^ 


r-7T-^r^ 


-f^^^a— ih 


^ 


•  '  P     P 


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With      a  hem   _    ii\  hliio        ker  _     I'hic'C      ticl 


p  «  w .  I  V  1.  a  •? 


H5 


JV?  40.     THE  BLUE  KERCHIEF. 


1 

I    s  i\\   a   s"rct    lUiiHrii  trij)    "Mt  thi'  li>,i 
Hi'ri'_\i"s  wcw  .IS  lii.iilstijiM's  .itt  ri''l  in^  "!'  iiu- . 
Hi-'i'    rlu'i'ks    wciH'   till"   ^osl•^,  til  it  Ciipi'l    lurks   in, 
With  ii    lioiiiiv    liliir  k»'ri'liii'i'  tii'ii   iiikIit   licr  cliiii  . 

2 
O  wheiv  ;iri'  yiii   -ioiiii^ ,  iii\    I  nr  |ii-i'tt\    iii.iiii  V 

0  whithi'i-  s(.  swift    tlii'uii'^h  llir  (li'w  (lr>'|i^?  I  Slid, 

1  1^0  til  m\    iii'itliiT,  kind  sir,  (mi-  t,,  sjiiii. 

O  till'  liiMiM\    hhii'   kiTi-liirl    'ii'd    iinik'r   licr'-liiii. 

*3 
Why    \u>:ir  \oii  tint  k^MM-hicf  tin!  hvit  ymir  li>';iiU 
'Tis  the  roiintrv  ^irlshsliiiin.  kiml    sir.  thru  she  s;iiH  . 
AikI  till"  fasliiiiii   \(iiiiiii  iiMiilriis   will   .il.v  i\s   I,,,  ill 
Si)    I  wear  :i  hliie  keii'liief  tied   under    m\    i-liiii. 

■i 
T"i)  kiss  her  sweet  lips  then    I   soii'^iht   to  iie'.;in, 
O  iiav    Sir!  she   s:iid,'ere    i   kiss   yni  winild    win, 
FiM\   slmw    me  ,i   rinu;,  tlm'  uf  '^'ild  (he   iiinst  thiii. 
O  sljest    lilne  kereliief"  tied  under  the   eliiiil 

5 
Wlij    weir   .1    blue  ken-liiel',  sweet    in.iideii,   I   saiif, 
IJecHMse  the    bine   r-olmir  is   dm'  nut   tn   l.ide, 
As  u  sailor's    blue  jaeket    who    lrj,hts   tVii'   the    kitii;-, 
Su's   (in    li i\    iiliie   kerehiel'  tied   iiiidei'the    i-lun. 

6 
'IMle    io\i'    that     I   value  is   ceriain   to    l.ist  , 
Nut   fudiiitr  and  ehaiitjing,  but  ever  set    fast  , 
That  onl\    the  eoloiir.  m\    love  sir  to   win, 
So  u-uudbve    i'roin  the   kereJiieC  tied  nnder    the    ehiii. 


.Vd.i,  h)    tinift'  il  in  sini!;iiv^ 


P  «  *    I1.-1S'? 


h6 


AN    EVENING    SO  CLEAR. 


.YV  41. 


F.  W.  B, 


.S)f7ip/i/  &  nof  *'"i  fait. 


\\c  ri' ; 


Tm  kiss  tli\      snft        ••luM'K     With      tin-         faint    _     est       of 


\^'  >a^^i^i 


^ 


^ 


V'b    ^' 


^ 


zr^T= 


i^^ 


-tg^ 


.. .  I J  ij 


^^ 


_    ho VI' 


ih,  1 1  '    I  i  I 


^ 


ist 


^^^^ 


3t 


jrlit     hf,  'I'd    en  _  lijj''* 


my 


I^^TT 


d    d 


P  .  A'.  I  t'lH'' 


87 


jr?  //.   AN  EVENING  SO  CLEAR. 


All  iMeiiiii<i  so  cliMi-. 

O     1    NMIIlId    tll;lt    I    UcVc  , 

'I'o  kiss  tli\   iiiil't  i-lieek 
With  thi'  fiiinti'st  of  air. 
Thi"  star  til  it   is  twiiikliii": 
So  britjhtl\   iliiiM', 
I   would   tli.it   I  iiii<^ht   be  , 
To  eii-li^htL'ii    iii\    love! 

2 

If  1  ML'i'c  the  scMs 

Th.it  alioiit   the  woilil    run, 

I'd    give  thee    my    peails 

Not    re(ailliil<i^   of  one. 

If    I   «iiv  the    SiiiiiniiT, 

With   l"|i)\\ers    and    lireeii, 

I'd    garnish    th\    ti'iiijiles 

And    would  erowii    thee    my    niieeul 

3 

If    I   "ere  a  kiln 

All    in    tervuiii-  ;iik1    I'l.iiin' 
Id  e.itcli  thee,   and   thon'd  lie 
Cdlisuiiied    ill    t  111'    s  ;  mr  . 
I>llt    ^)l'l'.Ul■^^•    I    aiii    |iutllillj>' 
S.ive    l^ve-total'd*  Bill, 
Pr  i\    t.iki'  iif  me  ,  in, ike 
( )  r  me  just'  u  hat    jnn   will. 


-ft 

Tutiiled    is    liiolisli,  cr.ized. 


P  i  *.l  I  H4 


88 


THE  Warson  Hunt, 


jYO   1.2. 


B')i$t-;Tnu>ly 


u>l\i.   J-  120. 


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H9 

^?4g.  THE   WARSON  HUNT. 
1 

Com>;  all  vou  jolly  hunters  bold, 
I'll   slii^   yo'i  som''tliin^  n-'w , 

'Twas  in  the  springing  of  the  year 

In  Hi^liteen   huu  ired  two. 
A    pack  of  hounds  from     Kelly  came. 

And  cobs   from   far  and   ni^h, 
The  hij'-.tsman   swor-  of  oaths  a   score, 

This     liv  a    Hare   shall  die 
2 
Th^*    Sqijirewas   on    his    silver  tail 

The    Kirson  on    his   bay. 
And    Surgeon    Ston-;    bestrode  a  roan. 

The   huntsman  rode  a   prey; 
And   some   on    b.orses   from    the   jdough , 

And   such  as  coaches  dre.i, 
But   somr;  were  there  on    shinks's    mare, 

And   one  on  crutches   too. 
3 
They  trif-d    tiie  down  by    War-^on  town, 

At    last    thev    start    the    har<e, 
And  full   in    vie-.v    the    hounds  pursue, 

With  titf  and    taff,  and   tare. 
The     MASTER  said,  "I   stake    my   head, 

A    golden  guinea  lay. 
We'll     kill   that   hire, by    George,   1  swear 

Btifare    the   turn  of   day." 
4 
Long  tiniK   they  toil'd,    with  s-veat   were   soiled. 

That  Puss  WIS  not  overtook, 
Away  sh«  wore  to   Sandry   moor 

She   lyap'd    lull    many  a    brook. 
The   Squire   he   rode  with    whip  and   spur 

His    gallant    silver  tail; 
And  they  on  foot  were  hard    put    to't  , 

.And  some  be^an  to   fail  . 
5 
Thin  Siid  the  hunters  drawing  rein 

That  Puss  US  all  has  beat, 
A  mighty  run,  and  we  well  done 

Acknowlei2;e  our  defeat. 
And  some  went  east,  and  some   went  west 

And   some  returned   south, 
But  not  a  few  went   into   Lew 

To  fill  the  hungry  mouth. 
tt 
The  Squire  he  opened  wide  his  door 

The   hunt    to  entertain, 
With  beef  and  beer   and  such   good   cheer 

As   hunters  ne'er  disdain. 
Then  it  is  said,  he  who  staked   his   head, 

That    he   would    kill,  that   div, 
He  lost  his  head,   all    night  as  d-ad. 
Beneath   the  table   lav- 
7 
Then,    Hey!  down  derry.'    let's  be  merry! 

And    drink  a  hunters  toast 
And  never  swear  to  kill  a   hare. 

Lest   we  should   rue  the  boast. 
Yet  —    should   we   fail,-  -  on  flowing  ale 

And    punch,  a   royal   brew. 
We  do  not  care  —  let's   miss  our  hire, 
.And    lose  our    heads-at  Lew! 


i>  i  «.  II  i^s? 


9(1 


THE    GREEN    BUSHES, 


JVP4.S, 


H.F.  S. 


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91 

jr?  4S.    THE    GREEN  BUSHES. 
1 

As   I  \\;is  ;i  will<iii;jj  (inr    mtirtiinji;  in    May, 
To  hi'ur  thu  hirds    uliistlu,  sec  l.unlikiiis  it   |)l;ij, 
I  spied  a  fuirdnmsel,  O  s\M'ctlv  saii<j,  slie  — 
'Du\Mi   y>\  till'  j^u'L'ii  biislir--   In-  thinks  tu  tni'i't    me.' 

2 
'O  whi'i'e  are  you  nnin^.  my  sweet   prett\    maid?' 
'My  lo\er    I'm  seekinjj,  kind   sir,'   she  said 
Shall    I  be  your  lover,  and   will   jon  agree, 
To  forsake  the  old  love,  and  forgather  with  me? 

3 
'I'll   bny  yon  fine  beavers,  a  ija\   silken  ii:owri. 
With  fur  beliiwed    |)etti('oats  flounced  (o  the  g-romid, 
If  \oirU  leave  your  old  lo\e,and  followinjj  me, 
Forsake  the  j^reeri    bushes,  where  he  wails  for  thee?' 

4 
'Quick,  let  iis  be  moviuji,  from  nnder  the  trees, 
Qniek,   let   ns  be  inovinsi;,  kind  sir,  if  yon  please; 
For  yonder   my  trne  love  is  comiMg,  I  see, 
Down  by  the  green  bashes   He  thinks  to  meet  me'. 

5 
The  old  lo\e  arrived,  the  maiden  was  gone 
He  sighed  very  deeply  ,  he  sighed  all    alone. 

She  is  on   with  another,  before  off  with   me, 
So,  adien,   ye  green  bnshes  for  ever '.' said  he. 

6 

I'll  be  as  a  schoolboy,    I'll    frolic   and   play, 
No  false  hearted   maiden  shall  tronble  my  day, 
Untronbled  at  night,  I  will  slnmber  and  snore 
So,  adien.   \e  green  bnshes!  I'll  fool  it  no  more. 


P  t  W.  ]\%tt} 


92 


THE    BROKEN    TOKEN. 


.V."  44. 


H.  F.  S. 


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whis.ncr'rl      ()      pri't  _  t\    ni;ii  den    s\.\\] 


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P  «W.  I  I  1«<. 


M.-1 

^P44.  THE  BROKEN  TOKEN. 


1 

Onf^  summeir  rjv^ning  ,  a  maiil'^n  fair 
VVjs  walking  forth  in  the  balmy  air, 
5hrt   met  a  sailor  upon  the  way; 

'Mallen    stay' he   whispered, 
'Maiden   stay'h-'   whispered 

'O  pretty  miiden,  stay!' 
2 
Why  art  thou  walking  abroad  alone? 
The  stars  are  shining, the  day  is  done', 
O  th-in  her  tears  they  be^an  to  flow 
For  a  dark  eyed  sailor. 
For  a  dark  eyed  sailor 

Had  fill:;d   her  heart  with  woe. 
3 
'Three  years  are  pass'd  since  he  left  this  land, 
A  ring  of  gold  he  took  off  my    hand, 
He   broke  th-?  token,  a  half  to  keep. 
Half  he  bade   ni-;  tr-;a5ure, 
H.ilf  he  bade  me  treasure. 

Then  crossed  the  briny  deep'. 
4 
'O  drive  him  danibel  from  out  your  mind. 
For  men  are  changeful    as  is  the. wind. 
And  love  inconstant  will  quickly  grow 
Cold  as  winter   morning 
Cold   IS    winter   morning 

When  lands  ar-  uhite  with  snow'. 
5 
'Abov-e  the  snoA'  is  the  holly  seen, 
In   bitter   blast    it  abldeth  green. 
And  blood  red  drops  it  a?  berries  bears 
So  mv   aching  bosom  , 
So  my  aching  bosom. 

Its  truth  and  sorrow    wears'. 
6 
Then  half  the  ring  did  the  sailor  show, 
Away    with  weeping   and  sorrow   now! 
In  bands  of  mirriage  united   we 

Like   the  broken    Token 
Like  the  broken   Token 

In   one  shall    welded  be. 


p  t  *.ine. ! 


7-4 


THE    ROUT   IS   OUT. 


H.  F.  S, 


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JVP^^.    THE  ROUT  IS  OUT. 

A  mirisummr;r  morning  fr-^sh  and  bright. 

And  all  th^;  world  is  gay, 
The  Rout  it  is  out,  we  must  j11  turn  out, 

The  Idds  they  march  dway. 
The  pretty  maids  are  left  in  town. 

They  look  from  the  windows  hlp;h, 
They  stand   in  th-'  'Street,  they  crowd  in  the  door. 
With   m^ny  a  tear  and  sigh, 

Singing,    Adieu,  my  boys.  Adieu!   my  boys! 

Adieu,  ray  boys,   adieu! 
Alack  the  day,  th^-\-  be  going  away! 
Pray  girls  what  shall   we  do! 
2 
O  bind  them  posies  ot'   pleasant  flowers, 

Ot   Marjoram,  mint, and  rue. 
And  blow  them   kisses,  to  tike  away, 

As  favours  to  wear  —  of  you  . 
And   wavr;  the  kerchiefs  from  off  your  necks. 

And  ribbons  about  them  bind: 
And  bid  them  never.    O  ne'er  forget 
The  pretty  maids  left  behind 
Singing.  Adieu  &c: 
3 
My  -lohnny,  a  bonnet ,  he  swore  would    buy 

The  bravest  in  all  the  town, 
But  no>v  my  .Johnny  must  march  away, 

1  know  not   whither    bound. 
He'd  dress   me,  he  saldi  'n  velvet    red. 

He'd   wran'ile  my   hair  in  blue, 
.And    now  he  is  gone   from    me  along 
I  doubt   if  lie   will  prove  true 
Singing,  .-\  lieu  &c: 
4 
O,  why  av'^  you   looking  so  sad  ,   my  child  ! 

0  why  does  your  colour  change! 

im  thinking  of  .fohnny,  who's  march'd  away 

1  know  not  where  to  range. 

My  lover   he    was  a    gallant  blade. 

He  warbled  a  merry  lay. 
And   now  am  1  sa  I,  for   my   pretty  lad 

So  far,  O!  so  far  away! 

Singing,  Adieu    'i-.c : 


9fi 


DRINKING    SONG. 


jY^  16. 


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Fill    the  flask, sweet  niiisic    V)rini^ 


*  ,h\\  shall   (juickiv    find         us  We    will    sluiiit  and  lai.^h  and  sing- And eastdidl care  he- 


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Xo  4-6      WHY  SHOULD  WE  BE  DULLARDS  SAD. 

V\  hy  should  wr;  be  dullards   sad. 

Whilst  on  earth   we   moulder' 

See  the  gay    the   ^oo 1    the  glad, 

Every  day    grow  older. 
Fill  the  tlask   sweet   music   bring, 

Joy   shall   quickly   find  us, 

VVfi  will   sh&ut   and  laugh  and   sing. 

And  cast  dull  care  behind  us. 

Chorus:    Fill   the  flask, &c 
2 
Hail    good    comrades   every   one, 

Round   the  polished    table. 
Pass  the   bottle    with  the  sun. 

Drink, sirs,  whilst    y-'re  able. 
Life  is   but  a  little  span. 

Full   ot    painful   »hinking, 
Let   us  live  a=   fits  a    man. 
All    good   liquors  drinking  . 

Chorus:    Fill   the  flask,  &c. 
3 
Uh-n  at    fUncle  Tom'sl*  we    meet, 

A   glass  to   take    together. 
Hand  in    hand,    in    union   sweet, 

Friendship   we'll   keep  ever. 
We're   no   moles    throughout    the    night 

Blind    Ln  darkness  groping, 

But   are  crickets,   son?    of   light' 

Singing,    chirping,  toping! 

Chorus;    Fill  the  flask,   a:c 
4 
[UncleJ    brim  the    flowing   bowl. 

Here's  to  '•ach    good    liver 
Harmony    pervade   the  soul. 

Discord    enter    never) 
Fill   the  flask,  sweet    music   bring 

Joy  shall   quickly  find   us. 
W"  Hill  shout  and  laugh,  and  sing. 
And  cast  dull  care  behind  us. 

Chorus;    Fill  the  tlask,  ic. 
Same   ^f  hf>-.f   r,r  of    nl'ir-    ■  hi-^n    h'r- 


9» 


lYlAY-DAY    CAROL 


jY^^t. 


H.F.S 


In  moderute  time. 


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9S» 

JV^47.     IVIAY-DAY   CAROL. 
1 

A\'d.kc;,ye  prritty  maids,  awake-, 

R-jtVeshed  from  drowsy  dr^jam, 
And   histe  to  dairy  houst^  .  and  tik" 
Kor  us    I  dish  ot'  cr-eam. 
2 
If  not  a  dish  of  y-llow  cr-aiii, 

Th^n    give  us    kisses  three 
The  woodland   bower  is  whit--    rith  flower, 
And    green  is  every   tree. 
3 
A    branch  of  May  we  b-.»r  about 

Before  the  door  it  stands; 
There's   not  a  sprout   unbudiied  out, 
The  work  oi  God's  07.  n   hands. 
4 
Awake,  d-v  »ke   ye  prettv  maids, 

And  take  th--   May-bush  in, 
Or 'twill  be  (^one  ere  tomorrow  iiurn  , 
And    you'll  have  none  -vithin  . 
5 
Throughout  the   night,  before  the  light, 

There  fell  the  dew  or    rain. 
It   twinkles  brn^ht  on    M.n    bush  white. 
It  sparkles  on  ftie    plain. 
6 
The  heavenly   gites  are  open  wide 
To  let  ''SCape  th-  d-v, 
And  heavenly  grace  fills  on  each  place 
It  drops  on  us  and  you. 
7 
The  life  of  mm  is  but  a  span. 

He  blossoms  as  a  flower. 
He  makes  no  stay,  is  here  to  day. 
And  vanisli'd  in  an   hour. 
8 
My  song  is  done,  I   must  be  gone. 

Nor  make  a  longer  st.jy. 
God   blnss  you  all,  both  great  a;id  small. 
And  send  you  gladsome    May. 

^  V?rspv6&7,6(;i./  *h-r->  h'lO"  4— ;i  o^h-rs  of/U-  moralhin-7  nif.'ir-^  w-r^ald-'l  wh-n  fh- chiiracf-T 
of  th"  May-Dai/  vi-.it  was  altT-'dfnm  one  y//o'/T.s  to  th-ir  sw-'-t-ffurts  into  on^  ofchillr-'n  seek- 
inn   May-Crift-:.  Th'-n  'h"  'Kisses  thr^^'  wr-^  changed  to  "Pennies  on-  or  r/iree." 

U     I   !  .1  U    I 


P  i  II.  IMS 


IDII 

NANCY. 


H.F.  S. 


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,Y9  48.     NANCY. 

1 

My  ow  n  prettv    N  im  y 
Mj    liAP    iiid  ik'lijjlit  ; 

This  is  till-   kind   Ictti-r 
To  \iiii    I    inil  ill-  . 

It   is  til  iiil'onn    ym, 

AVIuM-OMT    I    tjo , 

III  ti'm|M'st ,  ill   liittle 
I'm  t'lithl'iii  to    \cin  . 


When    hlnst'riiiji;  and   rortfinfij 

We're  tossed  jbotit 
Five  hundred    hright   sailors. 

All  sturdy   and   stout  , 
One   moment  deep   pinnjied, 

Theu    hijjh    in  the  air, 
To  see  my  sweet    Naiiey 

I  aliuosc  despair-. 
3 
We  fonght   with   a   Spauiard, 

A   galleon  of   pride , 
With    entlass  and   pike,  love, 

We  elimbed  op  her  side 
We   fonght    as   sea  lions, 

Tlie   di'uk   ran    with    lilinnl 
But    soon   all    was  over. 

And    \  ictors    we  stoorl  . 
4 
Stuiiii ,  lidttle,  all  ended, 

ir    (rod  spares  mir  jiws, 
We'll    come  to   our   sweethearts, 

Our  children   .ind    w  ives. 
A   health    to   sweet     Nancy." 

I  <lrink  on  the  main  , 
(i'ld  solid    me  to    Nauey  , 

And     Em,:^!  ind  ajj'iin- 


Pt  W.I+1.8* 


LULU  BY. 

1st   Version. 


.¥?  4.9.(1.) 


H.F.  S. 


'/'I'hiu  &  '■'n-l-'rli/.   Jzl'i'J 


Smi)'}'hlif 


^- 


•lim . 


^m 


m       P 


_^ IK EZ. 

r      ^  ^ 


Owls        hniit     ;ill     iiitrht; 


Fo  whit     to     whoo! 


P  i  W   lll-H'* 


lUit 


X94-9.  LULLABYE. 


Sh'i'|)    liili\    sli'('|).' 

D  111   is    imt    iii'^h  , 
TdSSi'd    oil    till'    (lirlJ, 

LiiI-1n!-.i-Ii\  ! 
IVliKiii    ;>li  i  II  ill  >i    iirjiilii  , 

Dm  puiiiii    (if  iliu  . 
Ouh   hinit    ill    iiiiilit 

T(i-\\!iit'    t.i-«li..u! 
2 
Slci'p  ,b,ili\,  sK'i'|).' 

Did   is   itw  .i\  , 

TusmmI     nil    t  lu'   'Iri'p  , 

Lull  k  I II  ii     lur    (l.i\  . 
Ill    the    lu'diii'    l'ii\i 

(i  liiw  -NMii'ins  ,il  i'_;lit  , 
U  i\  II K't s    t'l(i\\ , 

A  II    til  riiiiu  li    I  lu'   iiii;lit  . 
3 
SKh'|)    hiliy    slri'|j! 

D^id    is   ai'ur, 

Tnssi'd      (III     till'    ili'('|)  , 

A\  it  I- hill;;-    I    stiir. 
f '  lock    •i;iiiii'j;-tir  K  , 

T  Ilk, -ill   I  lu'  ill  rk  . 
On    till    hi'  nth  -  rink!  - 

Dii's   the   list   s|i;iik  . 


Sli'i'|) ,  li.ili\ ,  sli'('|) ! 

Wli  it  !  lii.t     i     u  ink) 
Dill    111!    ihi'   di'r|i. 

Wli.t     «in    llr    Ihinki" 
B,ili\    d<'  11",  situn 

D.ldil\     uill    rdiiH', 

iJrinji;iiii;    rrA   slin.iii 
For   li.iliy     it    linino  ■ 


'  \  W.  II  IS.' 


JVP  4.9.(2.) 


104 

LULLABY. 

2nd  Version  with  N'i'iljn 


F.  W.  B 


SI  JUJ 


Voice. 


Vi..lin. 


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Drop  _   piiijr   of    Hi-w;  Owls      hoot  nil   night, 


Tip  -   «hit     tii-«hi) 


^^ 


PiW.itvd? 


105 


y^^-O.  LULLABYE. 


SK'l'p     b:ll>\     sli'l'p! 

Dad  i^   nut    iiij;h  , 
Tossed   on   the  ili'ep, 

Liil-l(rl-a-l»>  ! 
IVlooii    sli  i  II  ill  j;    liri'^ht  , 

Dioppiiijj,   of  Aitw  . 
Owls  hodt  it  11  iiifiht 

To-whit.'   to-\vhi)o! 


Sleep .baby, sleep; 
Darl   is   aw  a\  , 

Tussed    III)  the  deep , 

Lookiiiff    f"<ir    day. 
Ill   the   hed^e   row 

(iliiw-wonns  alight, 
Ri\iilets    t'low, 

All    through   the   iiig-ht 
3 
Sleep    baby    sleep! 

Dad   is   afar. 
Tossed    01)   the  deep, 

Watching   a    star. 
Clock   goiug-tiik. 

Tack,- in  the  dark  . 
On   the  hearth  -  click  ! - 

Dies  the  last  spark  . 
4 
Sleep .baby,  sleep! 

What!  tlot    a     uiiik.' 
Dail   (III-  the  del' (I. 

What    will   he   think? 
Bab\    dear,  soiui 

Daddy    will   I'oaie, 
Uriiigiiiir  re<l  shooti 

For  1' ih^    at    home  . 


Pi  *.ii  i-s," 


loK 


THE   GIPSY    COUNTESS, 
Part  1. 


jy2  5o.i^ 


F.  W.  B 


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ofreeiiMood   jjliili',  fair  sir!'    she    s;iid,    '  I         iiii      sn    li|\tlu',  is     hird      so    'fj|\,       In    tin 

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107 

^-OSO.IHI  GIPSY  COUNTESS. 

PART.  1  . 
1. 

Th'ir'!  cdiii''.  an   Earl  a   rHing  by, 

A    i^ipsy  maid  espy^-i  h-e; 
"0  nut-brown  maid,  from  grer;n  wood   glade, 

0  prith.i>;  corns  along  with  me!' 

'"In  greenwood  glade,  fair  Sir .'"  she  said, 

1  am  so  blythe,  as  bird  so  gay. 

In  tliy   castle  tall,  in   bower  and  hall, 
I  fear  for  grief  I'd   pine  away." 
2 
"Thou  shalt  no  more  be  set  in  stocks. 

And  tramp  about  from  town  to  tovn, 
But  thou  i-hilt  ride  in   pomp  and   pride 
In  velvet  red  and    broidered   gown'.' 
"My   brothers  three  no  more   I'd   see, 

If  that   1  Went    with  thee,  1  trow. 
They  sing  me  to  sleep,  with  songs  so   sweet  , 
They  sing  as  on  our  way    we    go." 
3 
-Thou  shilt  not  be  torn  by  thistle  and  thorn. 
With  thy  bare  feet  all  in  the  dew. 
But  shoes    shall    wear  of   Spanish  leather 
And  silken  stockings  all   of  blue." 
"  1    will  not  go  to  thy  castle  high, 

For  thou  wilt  weary  soon, I  know. 
Of  the   gipsy    maid, from    green-wood    glade. 
And  drive   her  forth  in  rain  and  snow." 
4 
"All   night  you  Ii-^    neath  the  starry  sky 

In   riin  an!   snow    vou  trudge   all    day. 
But    thy   brown   head,   m  a  feather   bed. 
When   left    the   gipsies,  thou   shalt   lay." 
"1  love  to  lie  'neath  the  stirry   sky, 

I  do  not  heed   the  snow  and  rain. 
But  fickl--    is   wind,    I  fear  to  find 

Tlie  man  who  now  my   h'-art    would  gain'.' 
5 
''1    will    thee   wd,  sweet  maid,"  he  said, 
"1    will  thee  wed   with  a  golden  ring, 
"  Thy  days  shall  be  spent  in  merriment  ,- 

For  us  the  marriage  bells  shall   swing." 
The  dog  did  howl,  and  screech'd  the  owl, 

Th-   raven  croiked,  the  night-wind   sighed; 
The  wedding   bell   from  the  steeple  fell. 
As   home  the  Earl  did  bear  his  bride. 


P  J  W.  14  18'> 


108 


THE    GIPSY    COUNTESS. 
Part  II. 


JV?50.,2 


F.  W.  B 


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R-^p-a*  '/i^ss  4  Anrs  in  Chorum. 


\\:,\  ;is       siio\»,         Her    ho.irt       it  im>lt    _   ed        a    _   way        as       snow 


^^ 


■ 


•  *  *.  I  H  8  .< 


10  y 

X'.'oO.   THE  GIPSY  COUNTESS 


PART    2. 

Thi>!f-  Gipsi^jK  stoo'i  at  th.i  Cdstln  gate, 

Th«y  sang  so  high,  th^y  sang  so  low. 
Th.'  lady  satu  in  her  chamb-^r  iate, 
Hrir  h-^art  it  iD'ilted  away  as  sno'v, 
Away  as  snow, 
H-r  li-^art  it  melt-^d   iway  as  snow. 
2 

Th-iy  sang  so  swe-it  ,•    th^jy  sang  so  shrill, 

That  fast  her  t-ars   b^gan  to  flow  . 
.And  slw  laid  down  hnir  silken  gown, 
Her  golden  rings,  and  all  her  show, 

All  her  shoiv   icC  : 
*  3 
She  plucked  off  her  high-heeled  shoes, 

A -made  of  Spanish   leather,  O. 
She  would  in  the  street;  with  her   bare,  bare  feet; 
All  out   in  th--  wind  and   weatlier,  O. 
Weather,  O!  jbcr 
I 
She-took  in  hand   but  a  one  posie. 

The  wildest     flowers     that  do  grow. 
.And  down  the  stair. went   the  lady    fair, 
To  go  away  with  the   gipsies,  O! 

The  gipsies  O.'  JcC: 
5 
At  past   midnight  her   lord  came  home, 

.And   where    his  lady   w.is   a'ouM  know; 
The  Servants  r^\died  on  -very  side, 
She's  gonti  away   with  the   gipsies,  O! 

The  gipsies,  O;  &c: 
='•-  H 
Then  he  rode  high,  an  1  he  rod"  low, 

.And  over  hill  and  vale,  1  tro.v. 
Until  he  espied  his  fair  young  brlie, 
Who'd   gone  away  with  the   gipsies,  O! 
The  gipsies,  O!  .ScC: 
'■•=  7 
<)    will  you  leave  your   house  an^i  lands, 

Your  golden  treasures  for  to  go. 
Away  trom  vour  lord  that  weareth  a  sword. 
To   follow  along  with  the  gipsres,  O.' 

The  gipsies  O!  &c  : 
8 

0  1  will   leave  my    house  and  lands. 
My   golden  treasures  for  to  go, 

1  love  not   my  lord  that  weareth  a   SAfOrd, 
I'll  follow  along  with  the  gipsies,  O! 

The   gipsies  O!  &c  ; 
9 
'Nay,  thou  shalt  not!'    then  he  drew,  I  wot. 
The  sword  that  hung  at  his  saddl-'  bow, 
And  once  he  smote  on  her  lily-white  throat, 
And  there  her  red  blood  down  did  flow 
Down  did  flow,  &c: 
10 
Then  dipp'd  in  blood  was  the  posie  good, 

That  was  of  the  wildest  flowers  that  blow. 
She  sank  on  her  side  ,  and  so  she  died , 
For  she  would  away  with  the  gipsies  O; 
The  gipsies  OJ 
For  she  would  away  with  the  gipsies  O! 

II  is?  :";  / n  sin'jiiui.  th-'s"  man  />■■  omi^f-'^l. 


Ill 


The  crey  iyiare. 


JVP  51. 


H .  F.  S . 


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Ybriiifj   Ro.ui-r    flic    mil -ler  went  nonrt_iii<4-    nf      liti".       A     I'lniuM-'s 'i^eot  diiijj^litiM' imIIihI 


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t>      «:is       Imx.'im    ;uifl     li()ii_:iy     and     i'uir,     H:til 

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_  coin  _  tiKiii     ijri'v  m:irt*        A   ^n'\  riiii'i'      ;<     ,iir''>  mure    An     nn  _  I'niii -nioii   5ii'i'\    iiin'i'. 


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Ill 


jXP  51.     THE   GREr.  MARE 


1 

Young,   kj^e-i  ,  tliri    Miller,   w-'nt  courting  oi   late 
A  tirii.-.r's    sweet  'IdUghter  called  B-dutit'ul   Kate; 
Now   Kitty   was   buxom,  and    bonny   and    fair, 
Had    plenty  of  humour,  ot'  trolic  a  share, 
And    her  t.tfh-:r   possessed  an  uncommon  grey  mare, 

A   grey   mare,  a  grey  mare 
An  uncommon  grey    mare. 
2 

So  Koger  he  dressed   himselt'  up  as  a  beau, 

He  comb'd   down  his    locks,  and   in   collars   of  snow, 

H-   went  to  th-  firmer,  and   said,"Hov  d'v  dol 

1  love    pretty    Kitty  to  her    I'll    prove  true; 

Will  you   »iv-   me   tli-   t;rey  mare  and    Katherin-'  too. 

The  ^rey  iiiir-^.the  t;rey  mar-'  &C: 
.3 
"She's  a  very  nice  maiden,  a-courtin^    I'm   come. 
Lawks)    how   1   would  like  the  grey   mare  to  ride  home! 
I  love  your  sweet  liaughter  so  much   I   declare, 
I'm    ready   my   mill  —  and  my   stable  —  to  share, 
With    Kittv-the  cturmins,  and  with  the  grey  mire, 

Th-!  grey  mare,  the  grey  mare  ic: 
4 
"Your'  welcome  to  her,  to  her  hind  and  her  heart, 
But  from  the  gr-*y  mare,  man,  I  never  will   part'.' 

So  said   the  jld  farmer,  then    Roger,  "1  swear. 

It  is  up  with   my   courting,    for   Kate  I  don't   care, 
Unless   I  be  giv-n  as   well   thf-  grey   mare. 

The    grey    m  ir-,  the  grey  mare  JeC: 

5 

The  yeirs  hid  piss'd   swiftK',wh-n  withered  and  grey. 
Old   Rog'-r,  the    Miller,    met    Katherin-  one  day. 
Said  h--,  "I  remember  you,  buxom  and  fair, 
As  roses   your  cheek-    md  as  broom    was   your  hair. 

And    1  came  a  courtini',!      Ah.Kat-!    the   fjrey  mare. 

The  g;rey    mar-,  the  grey  m-.re  .v. 
H 
"1  reiii-'mber  vour  coming  to  court    the  grey  mare 
Very  well,   MF  Roger,  when  gold-n   my  hair, 
And   che^-ks    .vere  as  roses   tli at   bloom  on  the  wtH. 

But,  lawks!     MT  Roger.  I  can  not  r-call 

That  e'er   you  Cam--   sweet -hearting    ni»',  man,  at  all. 

But  the  mare,  the  grey  mare 
That  uncommon  grey  mare." 


p  i  w.  1  v+8  .' 


112 


A  Wreck  off  the  scilly. 


X^  52. 


H.  F.  S, 


h'.iiiii.  J-z  I  iv! 


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XQ  52.    THE  WRECK  OFF  SGILLY. 


1 

Coiii'^  .ill   \ou  brisk  voun^  sailors    boM 

Th.it   plou^^i  ^'^''  f^^R'^-   ni.im, 
A  trd5'"iy     1   "^'"  unt'ob) 

In  story  sd'i  an  i   i'lain. 
Prom    my  trur^   lov-^ 'twas  presst^'i    was  I 

Thr-   gallant   ship     to  sr«er 
To   Indiris  west,   each    heart    b^-at   hi^h 

With  confidence   and  cheer. 
2 
A-yeir  was   fi;one.  and   hjnie  at  last. 

We  .urnM  with  swelling;  sail. 
When ere   the    Scilly   over-passed 

Th^re  broke  on  us  a  gale. 
Th4  boatswain  up  alott  dii  go, 

He  went  aloft  so  high. 
Mo:e  angry  did  the  oc^an   grow. 

More    menacing  tli'-  sky. 

:i 

To  make  the  stripe    in   vain,  we  tried 

'I'll'-   SciUv  rock-  to   clear, 
The   thunder  o\'  th-   furious  tide 

Was  filling  everv  '-ar. 
There  came  a  snarp  and   sudden   shock, - 

Each     thought    of   wife   and    home! 
The    gallant  ship   was   on   a  rock. 
And  swept    .vith   wave  and  foam. 
4 
01   eighty   seamen  'prised   the  crew, 

But  one  did  reach  the  shore, 
The  gallant    vessel,  good   and  true, 

Was    shatter-d  aft  and  fore. 
The  n-ws  to   Flvmouth   swift    <lid  fly, 

Th.vt   our   good    ship   was    gone  ; 
And  wet   with  tears   was    many  an  eye. 
And   many    i  widow   lone. 
5 
And    when   1  cam^-  to   Plymouth  sound 

Alive,  of  eighty  dead  , 
My  pretty   love,  then  f.ils-   1   found 

And  to  a  landsman   wed  . 
O   centles   ail    that  live  on   land 

Be-think  the  boys  at  sea, 
Lo.'  her-    1  stand   with  cap  in    hini. 
And  crave    your  charity. 


,'.''  l-l-t-B* 


Ill 


HENRY  MARTYN, 


NO  53. 


* 


In  moderate  time.  ci=«io. 


H.F.S, 


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three 


Thoy  alldidcastlotswhichof    them  shouldgo 


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robb-inp   up  -  on     the   salt         sea. 


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P.J^W  150B. 


115 

JS'9  5S.  HENRY    NIARTYN. 
1 

In    merry    Scotland, in  merry   Scotland, 

There  !iv>-d   brothers  three. 
They  all  did  Cast  lats  which  of  th>:ni  sh'^uld  go, 

A  robbing  upcir.the  salt     sea. 

2 

The  lot  it  t'ell  upon    Henry    Martyn, 

The  youngest  of  the  three. 
That  he  should  go  rob  on  the  salt,  salt  sea, 
To    maintain    his  brothers   and   he, 

3 

He  had    not  a  sailed  a  long    winter^    night. 

No  yet  a   short  winter's    day. 
Before    he   e^spied   the    King's    gallant    ship, 

Come  sailing  along  *hat    way. 

4 

How    far,  how  tar,    cried    H-nry   Martyn, 

How  far   are   you   going? said    he 
Fori  am  a   robber  upon  the  salt  seas, 

To  maintain    my  brothers  and   me. 

5 

Stand  off ,  stand  off!    the  Captain    he  cried. 

The   lifeguards   thiiy    are   aboard. 
My   cannons   are   loaden    with   powder  and  shot; 

.And  every    man   hath  a   sword. 

6 

For  three   long   hours    they   merrily   fought. 

For   iiours  they  fought   full  three. 
And    many    a   blow  it  dealt  many  a   wound. 
As    they    fought   on   the   salt,  salt    sea. 

7 
Twds   broadside  against  a    broadside  then, 

Ar,d  at    it,    the  which  should    win, 

A    shot    in   the    gallant   ship     bored    a   hole. 

And    then  did    the    water    rush   in. 

h 
Bad    news!  bad  news,  for  old     England 

Bad  news   has  come  to  the  town, 

Tlie    king    his  vessel  is  wrecked   and    lost. 

And  all   his   brave    soldiers  drown. 

y 

Bad    news!     bad   news  through   the    Loudon  street! 

Bad    news    has  come  to  the    King, 
The   lives   of  his   guards  tbey    be   all  a  lost, 

O  the  tidings    be  sad  that    I  bring. 
10 
O   had  I  a  twisted   rope  ot  hen.p, 

A    bowstring  strong  though  thin; 
I'd    soon   hang  him  up  to  his    middle  yard   arm, 

And    have   done  with    Henry    Martyn. 


F.  i  W.  1606. 


J  Ifi 


JVP  54. 


PLYMOUTH    SOUND. 


.S;«('o/h/y   arjff   ^^l^h    Exiirtiion.   J;12U 


H.  F.  S. 


O  the  fair  fuv\u    of     Pljmuuth  is        b}        the  sea  .  side      Tlu'Soiiiid  is    so       Miieaud 


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still    auH    So      Mi(Je,        En    -    einlrd    with      hills  ,iii(i  with        ruTsts     of     S'reeii        As 


croMii  of  fresh  lea\esoii    the      head      'if  a      Queeu         0      dear  Pl\  iiKnithtowu      Aud  O 


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liliie  Ply  .  month    Sound     O    where  is      your  e  -uiial      mi     Earth    to     by        found. 


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CHORUS. 


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JT?  54.   PLYMOUTH   SOUND. 
1 

O  the  fair  town  of  Hlynioutli  is   by  the    sea-sidi^, 
Th«Soun<iissoblu»*,  dn>i  so  still  and  bo  wide, 
Encircled  with  hills   and  with  forests  all   green. 
As    a  crown  of  fresh  leaves  on   the   heail  of  a  queen, 

O  dear  Plymouth   town, and  O  blue  Hlymouth  Sound! 

O  where  is   your  equal   on    Earth  to  be  found. 

2 

0  the    maidens  of  Plymouth  are  comely  and  sweet. 
So  mirthful  of  eye  and    so    nimble  of    feet, 

1  love  all   the  lasses  of  Plymouth  so  well, 

That  the   which  I   love  best  not  a  prophet  can  tell. 
O   dear  Plymouth   town,  &  c. 

3 

O   the  bells  of  old   Plymouth  float  over  the   bay. 

My    heart  it  does  melt.as  li'ii  sailing  away. 
O  be  they  a  ringing  when   i  do  return. 
With  thoughts   matnmciiial   my  bosom  will  burn. 
O    dear   Plymouth  town,  &  c. 


P.&  W.  15U6. 


For  the  maidens   of  Plymouth  my  love  is  so  hot. 
With  a  bushel   of  rings    1  would  marry  the   lot. 
But  as  1  can't   marry  them  all    well-a-day! 
Perhaps  It's  as  well  that   I'm   sailing  away. 
O    dear    PI> mouth  town,    <&  c. 


118 


FAREWELL  TO    KiNGSBRIDGE. 


J^P  55. 


truh   feelinii.    J   --  96. 


ad  I  if) 


H.  F.  S. 

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Ou  thi-    liiiilliday   of     Nu  .  vitii-Iiit  at    the     dawn,  ius^    in       the 


bk\ . 


Ere  we      saild  a   -way    to 


New\ork,    we    at        an-thorhere  did 


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119 


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WeVMTi' huiiiid  a^,lill^t    the     rebels    iu   the  North  A.rae.ri   .    ca. 


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JVr^  55.  FAREWELL  TO  KINGSBRIDGE. 


Of   th?;  ninth   day  of    November,  at    the   dawning  in   the  sky. 
Ere    we    sailed   away  to    New  York,  we  at   anchor  here  did   lie. 
O'er  the    meadows    fair  of    Kingsbridge,  then     the   mist  was  lying  grey; 
We   were    bound  against   th^- rcbels,tn the  North   America. 

2 

O   so    moyrntul   was  the   parting   of   the  soldiers  and  their  wives, 

For  that  none  could  say    for    certain,  they'd    return  home  with  their  lives. 
Then  the   women  they  were  weeping,  and  they  curs'd    the  cruel   day, 
That  we  sailed  against  the   rebels,  in  the    North   America. 

3 

O  the  little  babes  were  stretching  out  their  arms  with  saddest  cries. 

And  the  bitter  tears   were    falling,     from     their  pretty   simple  eyes. 
That  their   scarlet  coated  daddies, must  be   hurrying  away. 
For  to  fight  against  the  rebels,  in  the    North   America. 

4 

Now  with  God   preserve  our    Monarch,  I    will    finish  up  my  strain, 

be  his   subjects  ever  loyal,  and  his  honour  all    maintain. 

May  the    Lord  our  voyage  prosper,  an  i  our  arms  across  the  sea 

And  put    down  tlie  wicked  rebels  in  the   North  America. 


P.  &  W.  1506. 


120 


FURZE    BLOOM. 


JVf>  56. 


tfith   tt  ndtrness 


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H.F.  S. 


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pruue,  Aud   love      likeit      is_       e    .     verhere!Aud    e  .ver     Imp's  iu  tune! 


P.  &  W.  1506. 


121 


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CHORUS. 


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field  -  eu  furze     iu       bloom. 


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Gold  .  L'u  fiiizi'    ill  bloom 


ill  bioum      wbeu    (lie 


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love     is         out  of 

J.     J-^T^^ 


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out     of      flower.Theu 

J    J      J     J 


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Wheu  the  furze      is 


tune. 


i 


gold-eu  fnrze  is 


JV?   56.    FURZE  BLOOM. 


There's    not  a  cloud  a  sailing  by, 
That  does  not   hold  a  shower; 
There's  not  a  furze-bush  on  the  moor, 

That  doth  not  put  forth  flower. 
About  the  roots  we  need  not  delve, 

The  branches  need  not  prune, 
The  yellow  furze   will  ever  flower, 
And  ever  love's  in  tune! 

Golden  furze  in   bloom! 
O    Golden   furze  in  bloom! 
When  the  furze  is  out  of  flower, 
Then  love   IS  out  of  tune. 

2 

There's  not   a    season  of  the  year, 

Nor  weather  hot  nor  cold. 
In   windy  spring,  in  watery   fall, 

But   furze  is  clad   in   gold. 
It    blossoms  in  the  falling  snow. 

It   blazes  bright  in  .June, 
And  love,  like  it,  is  always  here. 

And  ever  opportune. 

O    golden  turze   &  c. 


There's    not   a   saucy   lad   I   wot. 

With  light   and   roguish    eye, 
That   doth  not  love  a  pretty  lass. 

And   kiss  her  on  the  sly, 
There's   not  a  maiden  in  the  shire 

From   Hartland  Point  to  Brent, 
In  velvet,  or  in  cotton  gown, 

That  will  his  love  resent. 

O   golden  furze  &  c. 

4 

Beside  the  fire  with  toasted  crabs. 

We  sit    and   love  is  there. 
In    merry   spring,    with  apple  flowers, 

It    flutters   in   the   air. 
At    harvest   when   we  toss   the    sheaves. 

Then    Love   with  th<-m  is  toss't. 
At   fall    when    nipp'd  and  sere  the  leaves, 

Unnipp't  is  Love  by  frost. 
O    golden   furze,  &  c  . 

'""  May   be   omitted  in   singliig. 


P.  &  W.  1506. 


122 


THE     OXEN     PLOUGHING 


JV9  57. 


H.F.S. 


In  mod^rat-::  time    *— 112 


jjf^  J  J  J-Jgf  ^M 


Prith-'r;   I'^nd  your  jocund  voices  For    to      Iist^-n  W'-'r-- agre-'d  ;      Coni-^ 


w 


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^^ J:  ;■■  ^  J  .r  rJ^iJ:  >-  M-  J    J'  J  I-  ^  J  j'  J'  J-  j>  J'  i' 


sing  of  songs  th'-choi-rjst, Of  thrt  lite  the  ploughboys  lead.    There  are    none  that  live  so  mer_ry    As     the 


^ 


rail. 

> ^^ 


C\ 


CHORf'S. 


!•■    J  J-JJTT:;!  r-J'^  r  f.^ 


sfel 


^ 


N   N    K 


F=F^ 


-v^ — .'— >- 


ploughboy  does  in  Spring,  V\h-n  he  hears  the  sweet  birds  whistle  And  tlie    nightingdl^s    to   sing.    With   my 


fe 


Hump. a. long!   Jump.a-longiHeredrlvesmylad  along!    Prettv.Spirk!-,  B-rrv,       Good  lucli?peedwell,Cherry! 


1^  J.     ^  f.^ 


P&W.1506. 


12S 


W-!  arw  th-^  lads  thdtcan  follow  the  plough.O      we    ar^  the  lads  that  can  follow  the  plough. 

_N      JT^  f-^        ^  jg a_ 


^^ 


^^^^^^^^^^^ 


^^^ 


eTP  S7.    THE  OXEN  PLOUGHING. 
1 

Prith->e  l-'nd  your  jocund  voices, 

For  to  Iist'-n  we're  agreed  ; 
Com-  sing  of  songs  th-*  choicest, 

Ot   th--  lif-  th"  filoufjh-boys  l-ad. 
Thr-re  are  none  that  live  so  merry 

As  the  ploughboy  does  in  Spring 
When  he  hear^  the  sweet  birds  whistle 
And  the  nightingales  to  sing. 

With   my  Hump-a.Iong!  Jump.a.lcng! 
Here  drives   my  lad  along! 
Pretty,  Sparkle,  Berry 
Good-luck  ,  Speedwell ,  Cherry .' 
We  are  th-  lads  that  Can  follow  the  plough. 


2 

For  it's,  0  my  little  ploughboy 

Come   awaken  in  the  morn. 
When  the  cock  upon  the  dunghill 

Is  a-blowing  of  his  horn  . 
Soon  the  sun  above   Brown    Willy,''"' 

With   his   golden   fac-   will  show, 
Therefore  hasten  to  the  linney 

Yoke  the  ox-n  to  th-   plough. 

With    niv    Hump  a  long'  &c. 
8 
In   the  h-at    of    the    day  lim- 
it's  but   little  we   can  do. 
We  will   lie  beside  our  oxen 

For  an    hour,  or  for  two. 
On  th-  bank';  of  sw--t  violets, 

i'li   take  my   noontide  r-vt , 
And  It's  I  can    kiss  a  pr-tty  fl'r! 

As  hearty  as  theb-st. 

W'lth    my    Hump-a-long!  &c. 


When  the  sun  at  -ve  is  setting 

And  the  shadows  fill  the  vale, 
Then  our  throttles  w-'H  be  w-tting. 

With  the  farm-r's  humming  ale. 
And  the  oxen  home  returning 

We   will   send  into  the  stall. 
Where  the  logs  and  turf  are  burning. 

We'll   be  merry   ploughboy s  all. 

With  my  Hump-aloftg!  tc. 
5 
O    the  farmer  must    have  s— d.sirS 

Or    I  sw-ar  h-  cannot   sow. 
And  the  miller  with  his  mill  wheel 

Is  an  idle   man  also . 
And  th"  huntsman  gfv-s  up  hunting, 

And  the  trades'man  stands  aside, 
And  the  poor  man  bread  is  wanting. 

So   tis  w-  for  all   provi.v. 

With  my    Hjmp-a-lJngl  S:c. 


P&W.1506. 


"  Or  any  o^tfr  suitable  htil . 


124 


SOMETHING    LACKING. 


JVr^  58. 


Coqutttiihltf . 


r.  w.  B, 


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d.iwiiirii(  iif    (lay,     Tu    vtalk  iu    the  sv»eet  summer    air,  I     bnckledm}  belt.dmiu'd  my 


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rihbous   so    j^ay,    To     travel    tu  Hather.  lei;i,h  fair. 


Theu  as  I  weut  ov.  er  the 


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^^^ S' — ' r — r     / 

road   I    espied.  Some  hlaikberriesharijjiu^  all      iu  thehedge&ide.So  pluasautiii  -  vit-iu<^  to 


^ 


P.  &:   W.  1506. 


125 


taste, b^  their luok    }J"t  I       conldnot^ut  at  them    for  latkof  a  crunk 


JV:^58.  SOMETHING  LACKING. 
1 

I     chanced   to   rise   at    the  dawning  of  day, 

"I'j   walk  in  the  sweet  summer  air. 
1     buckled  my  belt,  donned  my  ribbons  so  gay, 

Totravel  to  Hathcrleigh  tair. 
Then  as    1    went  over    the  road    I   espied 
Some   blackberries    hanging  all  in   the   hedge  side, 
So   pleasant,  inviting    to   taste  by  their   look. 
But    1   Could  not  get  at  them   for  lack  of  a  crook. 


* 


As  I  was   a. taking   my   Wifv  to  the  town, 

Beforethat  bright    Phoebus     did  rise, 
1    saw    some   red   roses,  their   heads  hanging  down. 

Red    roses  to    gladden   girls"  eyes. 
1    said.    Pretty  roses.    111   pluck  you,   1    swear. 
That's'  one   for  my   hat,  and  two   others  to   spare. 
i?uf,  gloveless,    alackl    with  my  hands  in  the  thorn. 
No  roses  I  got.  though   1   got   my  hands  torn. 

3 

As  I   was    awalkmg    along  by  the  stream, 

I    saw  a   blue  king  fisher  dart. 
Your    plumage  I'll    wear    pretty  bird, ^  I   declare. 

No  lad  at  the  fair'll  be  as  smart. 
With    feathTS   arraved,   in  mv  br-avr   displayed. 
Admired     1     shall    be.     in    request  by  each    maid, 
Hu/,  alack!    without    trap,  without   sling,  without  bow. 
Ungarnished   with  feathers   1    w^as   forced  to  go. 


I    went  to  the  fair,  and    I  heard  the  bells  ring. 

The  maidens  were   many  and  gay. 
I     said,  with  the  lasses   I'll    frolic  an.l  tling, 

Bvit  every  one   laughedand  said  Nay! 
They'd,  have  a  bright  nbbon,  a  kerchief ,  a  toy, 
And  non"-  would  say   aught  to  a  penniless  boy, 
■So,    having  no     money,  my    jcurnev  in  vain. 
Alone,  lacking  sweet-heart,  1  trudged  home  again. 

Maybe  omitted  in  singing. 


F-    i    W.  ISOt). 


126 

THE    PLOUGHBOY. 


^VV''    59. 


Fhty/ully.     4  :    120. 


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P.  &   W.  1506- 


JVr^  59.  THE     PLOUGHBOY. 
1 

O   the    Ploughboy    WdS   a    ploughing 
With    his    horses  on  the  plain. 

Ani  was   singing  of  a  song  as   on  went    he. 
'  Since  that    1   have   talfn    in   love. 
If  the    parents   disapprove, 

'Tis   the   first   thing  that  will  send   me  to  the  seal' 

2 

When  the    parents   came  to    know 
That  their  daughter  loved  him  so. 

Then  they   sent    a   gang,   and  pressed  him  for   the  sea. 
And  they    made   of  him   a   tar, 
To    be  slain  in   cruel   war; 

Of    the  simple    Ploughboy  singing  on  the    lea. 

3 

The  mai  ien  soredid  griev>-. 
And    without  a   word  of  leave. 

From   her  father's    house   she   fled  secretlie, 
In    male  nttire     dress'd. 
With   a    star    upon    her    breast, 

All   lO   seek  h>-r   simple   Floughboy    on    the  sea. 

4 

Then   she    went   o'er  hill    and    plain. 

And   she   walked   i-.i    wind    and    rain. 

Till    she   came  to   the  brink  of  the  blue  sea. 
Saying,"!    am  forced    to    rove. 
For    the   loss   of  my  true    love. 

Who  IS  but  a  simple   Ploughboy  from  the  lea)' 

^  5 

^•Now  the   tirbtshe  did  behold, 

O  It  was  a  sailor  bold, 

Have  you  seen  my  simple  ploughboy?'then  said  she. 
"They   have    press'!    him  to   the   fleet, 
Sent   him    tossing  on  the   deep, 

Who   IS    but   a  simple    Ploughboy   from  the  Ira? 

6 

Th-n    she  v.'r-'.,t   to   the  Captain. 

And    to    hini    she    made  complain, 

"(J    a   silly    Ploughboy'srun   away   from   nie!" 
Then    the    Captain   smile  1  and    said, 
"Why    Sir!    surely  vcu're  a  maid? 

So  the   Plou(<i.buy    I    will   render  up  to  thee." 

Then   she    pulled  out   a  store. 

Of  five  hundred  crowns  and    more. 

And    she   strewed    them  on  the  deck,  did  she. 
Then    she  took  him  by  the   hand. 
And  she  rowed   him  to  the  land. 

Where   she  wed  the  simple  Ploughboy  back  from  sea. 
May   be  omitted  in  singing. 


128 


THE    WRESTLING  MATCH, 


,yi'  60. 


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P.  &  W.  1506. 


129 

X?60.J\\l  WRESTLING  MATCH. 
1 

I  sing  of   champions   bold. 
That  wrristled    not   for    gold. 

And  al!  th-  Cry    was  Will  Trrfry! 
That   htt   should    win  thr;  day. 
So,    Will  Tr'-t'ry  Huzzah! 
Thr!    iddieb    clap  thr;ir    hands  and    cry 
Trel'ry.'   Tr-;try'.  Huzzah? 

2 

Th'in  up  sprang  lif'^!  Jan, 

A    lad  scarCfr  grown  a    man, 

Hr!  said,  Trrfry!   1  wot, ill  try 
A    hitch   with  thee  this    day. 
So,  little  .'an,  Huzzah! 
The  ladies  clap  their    hands  and  cry, 
O    little   Jan,  Huzzah! 

3 

They   wrestled  on  the   ground 

His   match  TreiVy   had   found 

And   back   he   bore,  in   struggle     sore. 
He   felt    his  force    give     way. 
So   little    Jan,    Huzzah! 
So     some   did  say — but    others.    Nay, 
Trefry.'  Trefry !   Hjzzah! 

4 

Then  W!'h  a   desperate  toss, 

Wiil  showei  the  flying  hoss. 

And  little  .Jan    fell   on   the  tan, 
And   never    more   he  spake. 
O    little  Jan!   alack! 
The    ladies   say,     O   woe's   the    day, 
O    little    Jail -alack! 

5 

Now  little  .Ian,   I    ween. 

That    day  had    married    been; 

Had    he    not  died,  a  gentle  bride. 
That  day   he   home   had  led. 
The    ladles    sigh,  the     ladies  cry 
O  little  .Jan  is  dead! 


P.  Xc   W.  1506. 


130 


THE      PAINFUL  PLOUGH. 


JS"'.'  61. 


Wiih     ViH' 


<iur.    J 


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131 
CHOtiVS. 


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^r^  6'1.  THE    PAINFUL  PLOUGH. 


1 

0  Adam   was  a    ploughboy,  when   ploughing  first  begun, 
The   next   that   di'i   succeed  him  was  Cam,  his  eliest  son; 
Some    of  the   generation    the     calling  still  pursue. 

That    breai  may  not  be  Wanting,  they  labour  at   the   plough. 

2 

Samson  was  the  strongest    mm,  and  Solomon  was  wise. 

And    Alexander  conquering,  he  made  the  worJd  his  prize. 

King  David   was   a   valiaiit    man,  an  i  many  thousands  slew. 

Yet   non''   of  all  these    heroes   bold   could  live  witln^ut  the  plough . 

3 

Behold  the  wealthy   merchant,  that   trades  on    foreign  seas, 
And    brings    home   gold  and  treasure,  for  such  as  live  at  ease. 
With  spices  and  with   cinnamon,  and  oranges   also. 
They're  brought  us   from  the   Indies,  by  virtue  of  the  plough. 

4 

1  hope   there's  none  offended  at  me  for   singing  this. 

For  never   I    intended  to  smg   you     ought  amiss. 

And    if  you  well  consider,    you'll  find  the  saying  true. 

That  a!l    mankind    dependeth  upon   the    painful   plough. 


P.  &  W.  1506. 


132 


BROADBURY  GIBBET. 


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^V:'  6-;?.  BROADBURY  GIBBET. 
1 

On    Broadbury   lown    th''  ravens   croak, 

The    breezes  shriek  and   groan, 
Now    low,  now  high,  the    wh;te   owls    tly, 

As     !;nowflakes  in  the    moon. 
The     cotton -grass  ^rows  under  me, 

In   tufts    of  silver   white, 
i    swing   and   swav  throughout   the   day, 

I     swdv  and  swing  all   night. 

2 

On    Broadburv    down   my    gibbet    stands, 

.Just    where  the    highways    cross. 
It     tells    the    moments,     marks    the    hours. 

With   shaiow   on    the    moss. 
."^nd    1    am    js      a     pendulum. 

That    svung   and    never    stay. 
The     Death    Clock    ot     a    bad   old    world 

Thai   cankereth   away. 


r 


p.  Sr  W.  1506. 


134 


THE    ORCHESTRA 


j\y  6s. 


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Tli(.Tcv»as  al .  so     CiddliL^IJi]!      There  was  laukyTumwitliliis  lii^tiomlion'Mitha 


tuothcumbHuiupli.r)  Hill! 


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jVr^6'.3.THE  ORCHESTRA, 


1 

I    w>^nt    unto    my  true    love's    house 

At  cif;ht  o'clock  dt    night, 
And  in  her  chamber-window  high 

There    burnt    a   taper's    light. 
Of  windows   had  that     maiden    four, 

They    looked   every    way. 
And    from  each    window,   in  the   nig 
Shone  forth    an  equal  ray. 

TherP,    was   I   with   my    tl 
There  was    also    fiddl 
There    was   lanky  Tom, 
With  a  tooth-comb, 
2 
Each   lover   deemed    himfeh    alone 
Her    chosen    swain   to  prove. 
And   she  looked  out  on    every  one 

With  equal  words  of   love. 
So    1   began  on  my    tlageolet. 
And    Bill   his    Violin. 

And    Tom-BimbomI on   his  Trombone, 

And   Hill    his   tooth -comb  thin. 
There    was    I,    &C. 

*    ,  3 

V\  hy  what    a    marvel!     then  said    I, 

Such   echoes   be   most  rare! 
And   round  the  corner  ran  to    spy, 

.And    found  the    fiddler  there. 
The    fiddler   round  the  corner   ran, 

On   lanky    Tom   he  lit; 
And   Tom    he  hushed   his   bom    bom    bom, 

And    next  on    Humphry   hit. 
Thr-:>=   was     I.   (tc. 

■SI. 

"  May  be  omitted  in  singing. 
P.    Sc    W.  1506. 


ht, 

ageolet, 

ing    BUI. 

with  his    big    trombone, 

Humphry    Hill. 

4 
My   pipe    I    split  on  Willy's    head 

His     violin  broke  Will, 
And    Tom  struck  home  with  his    Trombone, 

Upon  the   head   of   Hill. 
And   Humphry  round  the  corner  ran. 

And  wlien   he  did  me  spy; 
He  up  with  his  tooth-comb  like  a  man, 
And    hit   me  in  the  eye. 

There  was    I,  &  c. 
5 
Now  Brothers,  peace!!  said,  Be  calm, 

Tom    Humphry  and   WilUe, 
Let's   walk  away,  all  arm  in  arm. 

And  leave    her  solitary. 
Our  brokr!i  instruments   well  let 

Upon  her  doorstep  lie. 
Well   love  abjure, we'll  court  no    more, 
Not    Hill.  Tom.  Bill,  nor  I. 
There   was  1,  *  c. 


136 

THE  GOLDEN  VANITY. 


^9    64.. 


ffith    Si„Tif.    J      126. 


H.  F.  S. 


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low,  B\      the        LijH  .  laurls        luv\        as     she         s.iils        h\       the  Lov( lauds         Inw. 


P.  4  W.  1506. 


137 


.V."  6-4.  THE  GOLDEN  VANITY. 


1 

A   ship  I   lidv«   got  in  th^^    Nortli    Country 
And  sh^;  go^is  by  thf^    name   of  the   Gol  i-^n    Vanity, 
O  I   f-^ar  sIik'iI  bf.   taken  by  a   Spanis-h   (".a-la.lie, 
As    she  sails   by  the    Low-Ian  is    l^v,'- 

2 

To  the    Captain  then  upspake  the   little    Cabin-boy, 

He   said,   What    is    my    fee,  if    the    galley   I   destroy? 
The   Spanish    Ga-la-li^-,    if  no  more  it   shall  anoy, 
As   you   sail    by   the    Low -lands   low. 

3 

Of  silver  and  of  gold   1    will  give  to  you   a  store; 
And    my    pretty  little   daughter  that   dwelleth  on  the  shore. 
Of  treasure    and   of    fee   as   well,    111  give   to  thee    galore. 
As    we  sail    by  the   Low- lands    low. 

4 
Then   tlie  boy  bared   his  breast,  and  straightway    leaped  in. 

And    he     held   all  in   his    hand,  an  augur  sharp  and  thin. 

And    he  swam   until    he  came  to  the    Spanish  galleon, 

As    she  lay    by  the    Low-lands   low. 

5 

He    bore'd   with    the   augur,  he  bored  once   and   twice. 

And   some   were  playing  cards,  and  soiu^  we-r-  pUying  dice. 
When  the    water  flowed    in    it    dazzled   their  eyes. 
And  she  sank  by  the   Low-lands  low. 

6 

*So   the    Cabin-boy  did  swim  all  to   the    lavboardnde. 

Saying   Captain!    take  me  in,    1  am  drifting  with  the  tide! 
I  will   shoot  you!  1   will    kill  you!  the  cruel  CapTuin  cried- 
You    may  sink  by  the   Low-lands  low. 

7 

Then    the    Cabin-boy   did  swim  all  to  the  starboard   side 

Saying,    Messmates    take  me  in,  1  am  dritting  with  the  tide! 
Then   they    laid    him  on  the   deck,  and  he  closed  his  eyes  and  died. 
As   they  sailed  by  the    Low-lands   low. 

8 
^  They   sewed  his  body  up,  all  in  an  old   cow's   hide, 

And  taev   cast   the   gallant  cabin-boy ,  over  the  ship's  side. 

And    left    him    without    more  ado  adrifting  with  the  tide, 

And    to    sink  by  the  Low-lands  low. 


*  May   be  omitted  in  singing 
P  i  VV.  1506. 


138 

The  bold  dragoon, 


^i>   65. 


h^nh     Miirtiiil  spirt f.    J  ;  120. 


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A       bold  dragoon    frurn    oat    of   theNorthTo  a        la  .  dy's  Iioiiseoame       ri    .    diufi^,  Brinj^ 
With  clauk  of  steel   aud    spur    at    his  heel    Hiseon.  seqneiiee  uo.wa^s        hi    -  ding. 


?C?: 


P 


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ruf/. 


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J       ■  *       ^  •      *    t=g 


* 


forth  good  cheer,  Tap      claret    and       Leer,     Fur      here   I       think  of      a  -  bi  .    ding;    A_ 


^^ 


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t 


rr 


':Jf-  r     rail 


=i=lt 


/  nrgii/GiiT 


f^^rf 


O       'tmjJO 


r  J-  J  J   J 


m         m 


(* 


bi  .   ding,        A    -     bi  -    ding.  Bring  forth  good  cheer  Tap       elar.et      and     beer.  For 


^ 


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T 


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ftempo 


\ 


M 


■•■     *1 


.!l?j    g    r 


v^b^p    ;  r 


^ 


¥ 


^^T^ 


W^^ 


p.  Sc   W.  1508. 


139 


* 


¥ 


/T\ 


•i  •    * 


^ 


here    1       thiuk   of     a  -   bi    -    diug. 


^i'65.1\\l    BOLD  DRAGOON. 


A     bold    dragoon   from   out    of   the    North, 

To    a   lady's   house  came  riding; 
With  clatik   of  steel,  and  spur    at     his    heel. 
His    consequence    noways    hiding. 
"Bring    forth      good  cheer,    tap   claret  and  beer, 
For    here   1    think  of   abiding. 
Abiding,    Abiding. 


The    chamber   best   with  arras   be  dress'd 

I    intend   to  be   comfortable. 
Such  troopers    as  we  always    make  ourselves  free, 

Heigh! —  lead   my    horse  to  the  stable? 
Give    him    corn  and    hay,  but  for  me    Tockay, 

WVll  eat  and   drink   whilst  able. 
Able,  aye!Able. 

3 

The  daintiest   meat  upon  sliver  plate. 

And  wine  that  sparkles  and   fizzes. 
Wax  candles   light,  make  the  chamber  bright, 

And_as    soldiers  love  sweet  Misses, 
My    moustache  I  curl   with  an  extra  twirl, 

Fhe   better  to  give  you    kisses. 
Kisses,  aye!  Kisses. 

4 

There's   cake    and   wine,"  said  the  lady   fine. 
There's    oats   for  the   horse,  and  litter. 

There's    silver  plate, there   are    servants  to  wait. 
And    drinks,  sweet,  spark'lmg,  bitter . 

Tho,  bacon  and  pease,  aye?  and   muuldy  cheese. 
For  such  as  you   were  fitter. 
Fitter    ayel  Fitter. 

.<  5 

Your  distance    keep,   1   esteem  you     cheap 

Tho'  your  wishes    I've  granted,   partly. 
But   no  kisses  for  me  frcm    a    Chimpanzee,'* 

The    lady  responded   tartly. 
V\hy!  a  rude  dragoon  is  a   mere    Baboon." 

And  she  boxed  his  ears  full  smartly. 
Smartly,  aye?  smartly. 


P.  &    W.  1506. 


140 


JVP  66. 


TRINITY  SUNDAY. 


huh    Simi^liiify   and  < h<  trfulntss. 


H.  F.  S. 


m 


ft: 


^^^JF^^ 


^ 


f^i 


^ 


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# 


-rn  \rn  iT 


A\  hi'u      bites  the       frost         ami 


w 


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^ 


mt 


^ 


i 


^^ 


s^ 


^^^ 


ir — —I r- 

MJuds    are     a         bluw.iug^,    I         du  uut       herd,         I  dn  nut      care;       If 


^n~T^n 


r-  ir     ^ 


:^ 


^^s*^ 


# 


"  ]■  ;  J^ 


li-  J I J  f  i  1^^ 


* 


Jiihi)U}'s     by       rae        what       if     it       be       stiowJutj.    'I'is      sum.mer  time    with         me 


t-rnj^ 


•         d 


^ 


r 


^ 


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* 


i-H^ 


1^  I     h       St- 


^^ 


^^^ 


=*^=iC 


^; 


1_       the    Year.      The 


i  -   ei.i-les    they 

—I is^ 


may     hau^i;    ou    the      fduiitaiu,        And 


^ 


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^^ 


^ 


-«f^ 


E^ 


P.&  W.  1506. 


141 


3 


^ 


^ 


i 


^ 


^ 


fjn     .      zeii        ov    ■    er     IIk-      Farm  vu-fj     (jool.  The      bleak       Miud  wliibtlu         a 


<i>:a  *'!* 


m 


i 


f 


^ 


■*  I J   r  ^ 


?c: 


s 


^ 


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s 


.  t-riibs        the      moiiiitaiu.  Ni.' 


V,  in 


tr\        blabt  uar         lo\e         cau 


cool. 


jVP^<5.  TRINITY  SUNDAY. 
1 

W'h^^n    bites  the  frost   and   winds   are  a  b;ow:ng. 

I   do  not    heed     I    do  not   care; 
If    Johnnys    by  me,  what  if    it  be  snowing. 

Tis   summer  time  with   me  all  the  year. 
The   icicles  they  may  hang  on  the   fountain. 

And    frozen   over  the  f^irmyard  pool. 
The    bleak   wind  whistle  across   the   mountain. 

No    wintry    blast  our  love  can  cool. 

2  , 

0  what   to  me  the  wind  and   the  weather' 

0  what  to   me  the  wind  and  the  rain? 
My    Johnny  loves   me,  and  being  together. 

Why   let    it    blLster_it    blows  in  vain. 

1  never  tire,    I   never    am  weary, 

1  drudge    and   think  it  is   only  play; 
As    Johnny  loves  me,    and  I  am   his  deary, 

Why_all   the  year  it   is   holiday. 

3 

1    shall  be  wed   upon   Trinity  Sunday, 

And  then  adieu  to  my   holiday. 
Conie    frost  and   frown  the  following     Monday. 

Why  then  beginneth   my   workaday. 
If   drudge  and  smudge    begins    on  the  Monday, 

If   scold  and  gramble_l    do   not  care, 
My    winter  follow  Trinity    Sunday- 

I     Can't    have  summertime    all  the  year. 


P  3c  \V.  1506. 


142 


THE   BLUE   FLAME. 


^^'J  67. 


hith   miliinfhoItfcx}>rcf.SKjn.d   -.  112. 


H.  F.  S. 


* 


3: 


*^       *\ 


m 


*>. Sk^ 


^ 


-^ — * — •—^ 

All  UB   .  Hit       the  stars  aud  bt 


rt 


¥=^^ 


=^ 


^m 


^m 


■j^ 


m 


^^m 


iS 


r    r    J 


.loiij;         the  cdld  li\i.  A  lit.  tie     bine     flame  A        flat.ter-iu: 


$ 


I  I  I 


N         S 


1 


fci^s 


^^ 


It         came  from     the      cli,.n  h\.tr(i        fur    ymi        nr      fur  iiu 


P.  &  W.  1506. 


143 


^m 


Xi'67.    THE   BLUE  FLAME. 
1 

All  'jri'lT  tlie    stars,  ani   bf^nrath  th^:   green  tree. 
All   o%-er  tl.--  swar'i,  and  along  the  col'i  lea, 

A    little   blue   t'larae 

A    fluttering    Came, 
It   came   from  the   churchyard   for    you    or   for    me. 

2 

1    sit    by   the   cradle,  my   baby's  aslei-p. 

And  rocking  the  cradle,  I   wonder  and   weep. 

O    little  blue    light, 

In   the  d^ad   bf  the   night, 
O    prithee,    O    prithee    no    nearer  to   creep. 

3 

Why    follow  the   church  path,  why  steal  you  this  way? 

Why    halt   in   your    journey,  on  threshold  why  stay? 

With    flicker  and  flare, 

Why   dance   up   my  stair! 
O    1   would,     0    I   \Aoijld,    It  wrre     iawiiing  of  day. 

4 

All   under  th-   stars,    and   along  thf  green  lane. 

Unslaked   by  the  dew,  and   unquenched  by  th-^  rain. 

Of    little   tlames   blu- 

To  the    churcfiyar  i  steal  two, 
The  soul  of  my  baby!    now  from  me  is  ta'en. 


P.  &  W.1506. 


114 

STRAWBERRY     FAIR. 


j\r'j  68. 


PluyfuUy.     J  :  104 

ft  g       ».  I    >  Faq 


H.   F.   S, 


4E 


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1 


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o 


u  IV  -  u 


*=it=s= 


i 


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;■   J  J  J 


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p 


was      going    to     Straw  .  ber  -  ry  Fair 


&n)j(  .   lujj,     sing  -    luS' 


^ 


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^ 


t     V 


P-4  ;i;-   ^^ 


^^ 


1^       ^:     =^ 


^ 


^9==^ 


^ 


But  .  tiT-cupsaud  dais  .  jes.     I         met       a  maid-eu       tak    -   iiig   her  Mare    Ful      di 


9  tt 

i 

>k 

> , 

s. 

s 

=ip= 

P 

:i_t p J J 

=J r. — r — J — 1 

ee. 

-1 

> ' 

Her 

' — y — 
e\es 

— F 

>— 

were 

hr 

• — 

blue 

m 

and 

gt 

Id    -    eii 

L 

hair, 

A 

s 

^nt — ~ — 

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L 

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t- 1 

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3 

— 

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4 

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i 


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« 


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she       wl 


ent      OD         to 


Straw. ber.  rv     FVir^     Hi 


Ri 


tol 


P.&   W.  1506. 


14o 


# 


=r=r=r 


i^ 


tul.   de.ridd.le       li    .    do!      Ki    .    tul        ri     -    tol 


-^■^^^4^ 


Tol  -  de      ridd  .  U 


^^^ 


^'i'68.  STRAWBERRY   FAIR. 
1 

As   1  was  going  to    Strawbf^rry    Fair, 

Singing,stnging,    Butt^rr-cups  an'i   Daisies 
1     mr-A    a    maii^;n  taking   her   ware, 
Fol-de-der-.! 
Her  eyes  were  blue   and  golden  her  hair. 
As   she  went  on  to    Strawberry    Fair, 
Ri-fol,    Ri.tol,  Tol-de.nJdle-li-do. 
Ri-fol,    Ri-t'ol,  Tol-de-ridile-dee. 

2 
Kind    Sir,  prav   pick  of  my  basketj'she  said 

Singing,  &  c. 
My   cherries    ripe,    or   my  roses  red, 

F-.l.  de-dee: 
My   strawberries  sw--,-!,    I   can  of  them  spare, 
As    1   go  on  to    S'rawberry   Fair." 
Ri-fol     4  c. 

3 

Your   ch''rries    soon   will  be  wasted  away. 

Singing,    &c. 
Your    ruses    wither   and   never  stay, 

Tol -de- de. 
Tis   not    to   seek    such   p-rishing   ware, 
That    I  ani  tramping    to    btrawberry    Fair 

Ri  -fol      *c. 

4 

1    want  to    purchase   a  generous  heart. 

Singing,       <6  c. 
A   tongue  that      neither    is  nimble  nor  tart 

Tol -de-  dee! 
An    honest    mind,  but  such  trifles  are  rare 
I    doubt     if     they're  found  at    Stra^b^-rry  Fair: 

Ri-fo!     &c. 

5 

The  price  I   offer,  my  sweet   pretty  maid 

Singing.  &c. 
A    rmg  of  gold  on  your  finger    dispUved, 

Tol  -de  -dee .' 
So    come   makeover  to  me  your   ware, 
in    church   today   at    Strawberry  Fair. 
Ri-fol    ±c. 


P.  &    W.  1506. 


146 


^7'  69. 


THE  COUNTRY  FARMER'S  SON. 


Pfith    Spirit,    d  -.    152. 


H.  F.  S. 


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■0 — •■ 


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t 


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ff 


f=S 


r  ► 


jrTTTiT~nL n 


# 


I     Mould  nut    he     a      Muiiiirthgreiit.Mith  cnmn  up-un    my      hiMtl;  And 


^        ■^ 


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S-**^S^T 


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g? 


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F^nrls    (u    v».iit      op    .     oD     raj    state     Iti        Lruidered  rubes  ol 


For 


^^m 


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iinrni 


m 


s 


m 


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2* 


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ruJl. 


tempo 


^ 


« » 


^ 


he  must  hear  full    m.^ll^  a     eare.His  toil    is     uev.er     ddui 


^^ 


^ 


^ 


^^ 


'Tis    hetter  I    Iruw    be   . 


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# — # 


• ^ 


4 


hiud  thepluu^h.Tisbetterl    trow   he-  hitid    tliepliiuj^h.A      (■ijau(r\    farmer's     Son,        'Tis 


^M 


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0- ,  p 


^ 


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» — » — r- 


h-rra^^ 


i 


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p^^ 


^    • 


m^ 


P.&  W    1506. 


147 


J  r/ 1  r  r_j: 


^ 


^ 


ln((er  I    trow    be    .     hind  the  pluogh'Tis      betterl    trow    be.  hind    the     plou^faA 


I      bolter  I     trov\    be     -     hind   the  plouy;h'Tis 


IJ  n  J  r 


betterl    tniw     be  .  hiud    the     plough  A 


p — » 


^ 


^ 


^ 


better  I     trow   be    -     hind  the  plouj^h'Tis       betterl   trow    be  .  hind    the     pIoaghA 


iiud  the  plom 


E^^ 


better  I    trow   be    \      niLd  tne  ploiigh'Tis       betterl   trow    be  .  hiud    the     plough  if 


* 


■ 


( 


Eg 


J    J     J      J 


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r  r  r  r 


r 


r't    r  r 


-n 


^ 


1 


m 


»     m 


^ 


i^SE 


rf^^ 


* 


gi^ 


lS>-^ 


r^riij 


country  Fairn  .  er's 


Sou, 


luntry      farm  -   er'g 


Son. 


i 


conntry 


Furm  .  er's 


Sou, 


cuiinlry     farm 


ers 


Sod. 


^ 


? 


=» 


eoiiutr 


S 


iiutr\ 


Farm  -   er's 


Sou, 


A 

i 


eouutry     farm 


er's 


i 


Sou 

32 


# 


country        Farm  -    er's 


^ 


Sou, 


eouutry     farm  -  (^r's 


^ 


Sou. 


T^ 


e^ 


^i^ 


■^ 


^ 


g 


r  r  r    r 


?^ 


♦— ^ 


JV?    ^9.  FARMER'S  SON. 


* 


I   would    not  be  a   monarch  great; 

With    crown  upon  my  head. 
And  Earls  to  wait  upon  my  state. 

In  broidereii   robes  of  red. 
For  he  must  bear  full    many   a   care. 

His  toil  IS   never  done, 
Tis   better   I    trow  behind  the  plough, 

A    Country    Farmer's    Son. 
2 
1    would   not  be   the   Pope    of    Rome, 

And    sit   in    Pr-ter's   chair; 
V\ith   priests  to  bow  and  kiss   my  toe, 

No  wife  my  throne  to  share. 
And  never  know  what  'tis  to  go. 

With  beagles   for  a  run; 
'Tis   better  for  me  at  liberty 

A    Country     Farmer's    Son. 


I    would  not  be  a   merchant  rich, 

And  eat  oft'silver  plate. 
And  ever  dread,  when  laid  abed 

Some  freakish   turn  of  fate. 
Oneday  on  high,    then   ruin  nigh. 

Now  wealthy,   now  undone, 
'Tis  better  for  me  at  ease  to  be 

A    Country     Farmer's   Son. 

4 

I    trudge  about  tlie  tarm,    all   day. 

To   know  that  all  things   thrive 
A    maid   I  see  that   pleaseth  nie, 

Why  then    I'm     fain  to  wive. 
Not  over  rich,    1  do  not  itch, 

For   wealth,  but  what  is  won. 
By    honest  toil,  from  out  the   soil, 

A    Country     Farmer's    Son. 


* 


May    be   omiited  in  singing. 
P.&W.   1506 


14S 


THE   HOSTESS'  DAUGHTER. 


,Y'J  10. 


bm^ahlitS:  Gracefully.    0  :  100. 

I 


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'  •      d 


^ 


m 


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H  .  F.  S  , 


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^"tlW" 


H---tt 


y^ 


i 


Oz 


>^ — N- 


^ 


^^ 


-F — ^ 


.  ^       I    a  N 


a^s 


aa^ 


The  hiistess      of         thcHiiiP'of 


^ 


^ 


! 


ra 


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=n^ 


br 


-*f-»- 


^ 


>-    ^JTI 


i 


S-IL 


J^    .      ^1    I       J'    ^    J'    J'lJ       .J     J 


n  r-    [■  f_  ^ 


T"^ 


Bells  A  (laii<;hter      hath      with     HQlmni  hair,         Go  where  I      will  o'erplain  and 

ii,.tf      I  III.,       I     I      I      I  ,    I    I    I    I      I  "3   ,   J. 


^^ 


i 


^^ 


^^ 


t^ 


t=f 


i 


i 


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r         r 


^ 


;ij  j^:  ;iJ 


^  F   r 


? 


V — I* 


t" 1^ 


hill  i     do    not       find  a  maid  more  fair;         Shewelf^omes    rae with  dimpled 


i 


^ 


i 


I 


nrm 


SEEi 


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xnrr 


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r^ 


s=t 


* 


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i 


33 


«=? 


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^ 


■  I  ■ 


e^ 


srzizv: 


/        z 


t- — ^- 

smiles,       And  e'en      a        kiss        will     not    de       ny.       Owonid  for 


ns 


m 


:^=S: 


^ 


^^ 


^ 


the  hells  did 


I 


7-^"  F  U  Lj 


f^^g 


1    r 


P&  W.  1506. 


149 


jr?  10.    THE  HOSTESS' DAUGHTER. 
1 

The  Hostess  of  the  Riuj;  of  Bi'lls 

A  danghtiT  halh  with  unhnrii  h;»ir; 
(ro  v^h^'r('  I  will.d'i^r  pliiii  aofl  hill, 

I  do  not  find  a  m.iid    more   fiir; 
She  welcomes  me  with  dimpled  smiles. 

And  e'eu  a  kiss  will  not  deny. 
O  1  would  Pt  us  the  bells  did  ring ! 

And  MP  were  wed_that  mnid  and  I  ! 
2 
But  :is  I  travelled   dnun  the  mad, 

There  went  (j\   ine  a  paeker-train  ; 
Twas  Koger  liawle.and  Sandy  PanI, 

And   Hnnehbac'k  Joe,  and    Philip  Mi\ne, 
Sajs    Koger,   I  have  had  a  kiss. 

From  that  sly   maiden  at  the    Bell, 
And   f ,  said  Joe,  and  PanI  siid  so. 

And  so  did    Philip    Ma^ue  as  well. 
8 
Till  weather-beaten  as  the  sign 

'I'hat  dnth  before  the  tavern  s«inij. 
That  maid  will  stay,  and  none  ess  i\ , 

To  make  her  his  with  bell  and  ring. 
Methinks  I  II  take  another  road, 

V^'here   hap  some  modest  maideo  dwells, 
Nu  s  du'v  misv,  with  ready   kiss, 

And  then  for  iis  shall  ringthe  Bells. 


P&  W.1506. 


150 


THE  JOLLY  COSS-HAIVK. 


jY?  71 


m 


Lightly  ami  (irucrfiilli/ .    «.  :  80 


J.. 


H.F.S. 


i'-H-l  LLf  liJ  I  LU  f   i 


^ 


r     ^  r  ■  I 


t 


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j-i  J  J  ;■ 


S         S 


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« — * 


I  s:it      nil       :i     liaiik 


t  ri  -  f  li'     iiiirl  pl;n  ,         ^\  ith  rii\ 


^^ 


^ 


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P&W.1506. 


151 


JVf>T/.    THE  JOLLY  GOSS-HAWK. 


I  sat  on  d  bank  in  triri(^  aud  \)\:iy  , 

With  my  jo'l)  goss-hawk,;iiiH  her  winjrs  wereorey; 
She  flew  to  my  breast,  AnrI  she  there  biiiither  nest, 

I  urn  sure  (jrett^y  hirr)  yon  with  me  mjII  stay. 
2 
She  builded  within, and  she  Imilrled  v\ithorit, 

My  jolly  goss-hawk  and  her  w  iii.;s  were  "  rey  ; 
She  fintterod  her  wings,  And  she  jingled  her  rings. 

So  merry  was    she,   and  so  fond  of  play. 
3 
I  got   me  a  bell,  to  tie  to  her  foot, 

My  jolly  goss-hawk.and  her  wings  were  grey, 
She  raonnted  in  flight,  And  she  flew  ont  of  sight. 

My  bell  and    my  rings  she  carried  away  , 
4 
I  ran  up  the  street, witli  niinlilest  f'l't, 

My  jolly  goss-hawk,  and  her  wings  were  grey; 
I  whooped  and    hallo'd,  IJiit  never  she  shewed, 

And    r    lost  my  pret(_\  goss-h.i«k  that  d.n . 
5 
In  .1  meadow  so  green,  the  hedges  between, 

^^}  j"")  goss-h.iwk    and  her  wings  weregrey; 
l^|j(in  a  Ml  in's  hand.  She  perch 'd  did  stand. 

In  spnrt,  and  trifle,  and  full  .irr,i\ . 
(i 
Who's  gilt  her  may   keep  her  as  best   he  ean, 

My  jolly  goss-hawk  and  her  wings  weregre\  ; 
To  every    man  she  is  frolic  and  free, 

I  II  cast  her  off  if  she  come  my  way. 


P.  &W.1506. 


152 


FAIR  GIRL,  MIND  THIS! 


m>  72. 


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F.W.B 


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P  4:  W.  1506. 


153 


JVfns.    FAIR  GIRL, MIND  THIS  '." 


A  MoniMii  (hit   hitli  a  Icul   hiisbanH,  I   fiiiH  , 

H\  sctilfliiig  won't  make  him  thi'  hettcr  . 
So  let  her  lie  easy,  ••onfented  in  mind, 

Nor  suffer  his  fuibles  to  fret  her. 
Let  every  jjund  woman  her  hiishand  adore. 
Then   hujjp^  her  lot,  thon<^h't  he  hnmhie  and  jjoor. 
We  live  like  two  tnrtles,  no  sorrows  v\e  know , 

Atid.fiir  Sfirl  1    Mii]d  this   when  \on    marry'. 
Fair  i^irl  '.  Mind  this  when  yon   marry  • 
2 
My   wife    has   beiMi  wedcled  full   man-,   a  year, 

And   blesses  the  day  she  was  married. 
She  ne\(>r  fell  out  in  her  life  with    her  dear, 

Tho'  he  at   the  ale-honse  has  tarried. 
She  kindles  the  candle,  and  goes  to  ht^rhed, 

Nowdrd   of  conlenlio  ri    and  i-hiding' is  said, 
We  live  like  two   'I'nrtles,  &c, 

O 

At    morniniC  fnll  early  my    wife's  on  the  trot. 

Is    laying    and   Iii;htin2^  the  fire  ; 
She  gets  rae  a  |Jot  of  lnowri  coffee,  and  hot; 

Or  anything  else   I  desire. 
She's  nnder  subjection, is  dapper  and  ("air. 
She  greeteth   me  always  with   Darling, and    Dear! 
M'e  live  like  twoTurtles,    <Cc. 

4 
Shonid    .Saturday   come  and  the  money  ran  short. 

Why  then  _  there  is  less  i'nv  the  Sunday. 
Shesa^s  she's  contented,—   no  angry   retort; 

Only_  work  all  the  harder  on    Monday  1 
She  gives  me   a  kiss, and  away   I  do  go, 
She  never  says, Husband,  why  worry   me  so? 
We  live  like  two   Tnrtles ,  &c. 


P  &  W.  1506. 


164 


ON  A    lYlAY  lYlORNING  SO  EARLY. 


^\>  73. 


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P&   W.1506. 


155 


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^97S.    ON  A  MAY  MORNING  SO  EARLY. 

1 

As  I  \\;ilki'd  out  one   Ma)  fiiorniiii^, 

'•rie    \T:iy   miiriiitij^  so  ear!\  ; 
I  Ihrri'  i's|jiiM|  a   fn'r  |jri'tt\   miirl, 
All  ill  fhi'  dew  so  pearl\  . 

Ol 'twas  sweet,  swt'i't    spring', 
Merry  birds  did  mii<;, 

A  II    ill  the   moriiinu-  carl\. 
2 
St  i\,  fair  oiie,s(,i\  ; 'i'iiiis  did    I  say, 

Oil  a    May   moriiiie^   su  early; 
My  tale  of  l(U(>,\(iiir  hi'art.  will   nn(i\e. 
All  ill  the  dew   sii  |)i'arl\  . 

();  tis  sui'c't,  sweet  spriiiir,  Mi'rry  hirdsdu  sing, 
iMI  ill  the  inoriiiiii;'  earU  . 
3 
\m    t  ill's  Imp  me,  Kind  sir,  said  she 

()i.  a  "S]  i\   miiriiiiii;  so  earl\  ; 
\1\    sw  lie  IS  iru(\  I  dnnt  want  two 
All  ill  the  di''w  so  pearly  . 

Ol   t«as  sweet  suret  s|>riiiii,  Merry  birds  did  sing, 
A  II  in  the   nl^^llill^■  early  . 
4 
With    li^;litsMine  tread.   Away  she  sped, 

'I'his    \1  n   iiioriiiiiij  sii  ea  rl>  ; 
Tu   inret   her  lad.  And  left   ine  sad, 
All  in  th(>  dew  so  pearly. 

01  twas  sweet, swei't  sprin^.Merry  birds  did  sing, 
All  in  the  morning  early. 


P  &  W.  1506, 


156 


THE  SPOTTED  COW. 


JV?t4. 


H.F.S, 


In  Pastoral  s*yle .    ^  i  72 . 


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P  &W,1506. 


P  i:  W.   1506 


A*('r4.  THE  SPOTTED  cow. 


One  inorniii^  so  gav.in  the  glad  month  of  IMav, 

When   I  frond   my  cottaj^'e  strayed; 
As  broke  the  ray  of  aMakeuing'  day, 

I   met  a  pretty  maid . 
A  Deat  little  lass  on  the  twiiikMin"^ grass, 

To  see,  ray  foot   I  stayed. 

i 

My  fiir  pretty  maid,  why  wander?"!  said 

"So  early,    tell  me  iio«  ?  " 
The  maid  replied,  "Pretty   SirT'and  sighed, 

'I've  lost  my   Spotted  Cow. 
She's  stolen,"  she  said,  many  tears  she  shed, 
"Or  lost, I  can't  tell  how." 
3 
No  fnrther  complain    in  dolorons  strain, 

I've  tidings  will  yon  cheer. 
I  know  she's  strayed,  in  ponder  green  glade. 

Come,  lovel  I II  shew  yon  where  . 
So  dry  np  yonr  tears  and  banish  fears. 
And  bid  begone  despair." 
4 
I  truly  confess  in  my  bitter  distress, 

Von  are  most  good,"said  she 
With   help  so  kind,  I  am  certain  to  find, 

My  cow,  80  I'll  with  thee. 
F^onr  e\  es.it  is  true  are  better  than  tvo. 

And  friend,  fonr  eyes  have  we." 
5 
Throagh  meadow  and  grove,  we  together  did  rove, 

We  crossed  the  flow'ry  dale. 
Both  morn  and  noon,  we  stra)ed  till  the  moon 

Above  onr  heads  did  sail. 
The  old  Spotted  Cow,  clean  forgotten  was  noM', 

For  love  was  all  onr  tale  . 
6 
Now  never  a  day,  do  I  go  ray  way, 

To  handle  flail  or  plongh. 
She  comes  again,  and  whispers ,'  Sweet  swain 

I've  lost  mySpotted  Cow." 
I  pretend  not  to  hear,    she  shonts'My  dear, 

I've  lost  my  Spotted  Cow." 


15  !< 


CUPID  THE  PLOUGH  BOY. 


.y?75. 


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With  strnplicity'     J  :  66. 


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saw     g^o      by  a    plon^jniiig     boy  With       lips    and     ejo       a    .    smi 


P&  W.1506. 


159 


J\r915.    CUPID  THE  PLOUGH  BOY. 


As   I  one  day  walkorlont  in    May, 

Mhen    Ma}  was  white  in  hloDOi, 
I  bent  my  fj:i<h  arross  thi-  SH.ith, 

AikI  bri'illu'd  the  sweet  perfume. 
I  wandered  near  a  tillage  field, 

And  leaninj^on  a  stile 
I  sa«  ^11  liy  a  plongliiiiji  hoj  , 

\\  ith  lijjs  and  e)e  asmile. 
2 
O  Cnpid  was  that  saney  boy 

Who  furrows  deeply  drew  , 
He  broke  soil,  destroyed  the  spoil 

Of  wild  thyme  wet  with  dew. 
Before  his  feet  the  field  was  sweet 

With  flowers  and  grasses  f^reen, 
Behind  tiirn'd  down,  and  bare  and  brown, 

By  Cnpid's  oonlter  keen  . 
3 
0  crnel, cruel  plunghing  hoy  I 

V\  ith  sharp  and  cntting  share  ! 

0  why  thy  plongh  turn  on  me  now. 

And  leave  mi>  rent  and  bare? 

1  won  Id,  I  wot  ,that  I  had  not. 

Aw  ended  down  this  way, 
Nanght  did  I  gain  save  raek  and  pain 
And  dolonr  night  and  diy. 


P  «:W.1506. 


'Thy  heart    I  trnwfnll  deep  I  plongh. 

My  seed  therein  to  sow , 
A   crop  will  sonn  npspring  and  bloom. 

And  make  a  pretty  show. 
There'll  pome  this  wa\   a  gallant,  gay. 

He'll  view  this  fluwery  field, 
Then  straight  to  him,  nnqnrst  inning, 

The  crop  of  Love  yon'll  yield." 


160 


COME  MY  LADS, LET  US  BE  JOLLY 


NQ  76. 


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Why  shouldwe    not      merry.merry  be,  When  we're     met  to      -      ge    -    thor. 


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P    i:  W.  J506. 


J^9W.   COME  MY  LADS, LET  US  BE  JOLLY. 

1 

Coni''   mv  lads  l-^t  us   be  jolly! 
Drive   away  dull  melancholy 
For  to  gri^-ve  it  is  a  fc!!v, 

Wh-n  we're  met   together. 
Come,  let's  live  and  well  agree, 
Always  shun  bad  company, 
Why  should  we  not  merry  merry  be, 
When  we're  met  together? 
C/iori/s.Come  my  lads  let  -is  be  joily  &c, 
2 
Here's  the  bottle,  as  it  passes. 
Do  not  fail  to  fill  your  glasses. 
Water-drinkers  are  dull  asses, 

When  they're  met  together. 
Milk  is  meet  for  infancy,  * 

Ladies  hk^  to  sip   Pohea, 
Not  such  stuff  for  you  and  m*^ 

W'hen  we're  met   togethT. 
Chorum.  Come  my  lads,  let  us  be  jolly,  S-.c, 
3 
Solomon   a  wise  man  hoary 
Told  us  quite  another  story. 
In  our  drink  we'll  chirp  and  glory, 
Wh.-n  W'-'re  m-t  together. 
Come  my  lads  1-t's  sing  m  chorus. 
Merrily,  but  yet  decorous, 
Praising  all  good  drinks  before  us, 
W  hen  we're  met  toge* her. 
Chorus.  Com<;  my  lads,  let  us  be  jolly  .Ec. 


-«9^ 


O 


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POOR   OLD  HORSE. 


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P  &  W,1506. 


ran. 


163 


JV?7r.    POOR  OLD  HORSE. 


0  oiico  I  l:iy  ill  stable,  a  hnnter.wpll  and  warm, 

1  had  the  best  of  shelter,  from  eold  and  raiii  ;iiid  h.irm; 
But   iKiw  ill  open  meadow,  a  hedge   I'm  J^lid  to  find. 

To  shield   my  sides  from  tempest,  from  drivinji,  sleet  and  wiud. 

Poor  old  horse,   let  him  die  I 

2 
Mv  shoulders  once  were   stiird\ ,  were  jjlossy ,  smooth  and  round. 
But  nn«,alasl  they're  rotten,  I'm   not  aeeouiited  sound. 
As    I   h^ue  grovMi  soared,  m\  teeth  gone  todecaj, 
M)   masler  froMPS  npon  me  ;  I  often  hear  him  say, 

Poor  old  horse,  let  him  die'. 
*3 
A  groom  upon  me  waited,  on  straw  I  sniigij  lay, 
l^^hen  fields  were  full  of  flowers  ,  the  air  was  sweet  with  hay; 
Bat  now  there's  im  ijoiKJ  feediug  prepared  for  me  atall, 
I'm  foreed  to  mnneh  the  nettles  npon  the  kennel  wall. 

Poor  old  horse,  let  him  die  I 

4 
yiy  shoes  and  skin,  the  huntsman ,  that  eo\ets  them  shall  have, 
My  flesh  and  bones  the  hniuids.Sir!  I  ver^  freely  s:i\e, 
I've  followed  them  full  often,  a^e  '.   many  a  score  of  miles, 
O'er  hedges,  Walls  and   ditehes,  nor  blinked  at  g;ites  and  stiles. 

Pocjr  old   horse,  let  him  die  '. 

5 
Ve  g'entlemen  of  England,  ye  sportsmen  g'ood  and  bold. 
All  yon  that  ln\('  a  hunter,  remember  him  when  old, 
O   put  him  in  \oiir  stable,  and  make  the  old  boy  warm, 
And  visit  him    iiid  pit   him,  and  kec'p  him  out  of  harm, 

Pi.ur  old  horse,  till  he  die  1 


* 


May  be  omitted  in  sinj^ing.      p&w.lSoe. 


164 

THE  DULY  SONG. 


J^9n8. 


H.F.S 


i 


Smoothly  &  not  too  fast.    »  -  120. 


« » 


^^ 


*  Come    and      I       will      siii<i  >un  ! 


E 


d    I     6t 


What  will     Jiiu     sing-  me? 


i 


f  r.  r  r  I J 


r  r  r  rir 


I     \\ill  si  Hi;  3 on   One        O  ', 


One  of  them  IS    all      a  -  IdiiP.niiil 


4        ^ 


^ 


-i — » 


M'hitt    is    vonr  Orio      O? 


One  o("  them 


IS 


^^ 


WTut     i^-    \.iiirOi,o      ()? 


all  a.loriP.drKJ       ev  .  or  will    rp   .    raaiu       so;    and       ev  .  cr       wi 


ro   .    m:n(i      so. 


Oiip  nT  them  is       all      a  .  loiie,;irKl         ev  .  or  wil 


re    .     main     so , 


PJkW  1506. 


);n  p'^C)  Tii'd . 


165 


^\>18.   THE  DULY  SONG. 


Cnrnc,  .iii'l    I   "ill  siii^  y.ii  . 

Wfi  it  Mil!  \uii  siiii;'  rac  ? 
I  Hill  sin^  Mill  Olio  O  ! 

Whtit  is  \uiir  Oi/c  0  ' 
Oi:.'  (if  ttu'in  is  ;ill  all  liloiie  ,  anHiMcr  will  rPiiiiiti  su  . 

Conn*,  ami   I  \m11  siiiii  \Mr]. 

\\  hat  will  \c''i  siiiji  iik'? 
I  will  siiiji  \'>n   Tw(i,0  1 

M^h;it  is  \onr   Two.O? 
T\M)  of  tliem  nrp  lil\-\»hitc    babfs,  and  flr(>bs.'d  ail  in  ^rci'n.O  . 

3 
Clime ,  &<' . 
I  w  ill  sing  \\n\    Thri'e,  O  I 

What  is  vorir  Three,  0  ? 
Thri'p  of  them  are  stranjiers,  o'er  the  «icle  world  they  are  raii-i-rs. 

4 
C'(pme,,E:r  . 
I  will  sinji  \0M    Four  ,  O 

U'h 't   is  yonr  Fonr,  0? 
Four  it  is  the  Uill\   Hour,  when  hlooms  the    ^\\\\    flower. 

5 
Co[ne,,fee. 
I  w  ill  siiii:  }on    Fi\e,  O  1 

What  is  yoar   Five.O  ? 
Fi\e  it  is  the  Uili\  Bird,  that's   never  seen, but  heard,  O  J 

6 
Come,  <6e. 
I   will  sing  yon    Six.O  I 

\i"hat  is  \0Nr    Six,  O  ? 
Six  the    FiTr>mari  iu  the  Boat,  that  doth  on  the  ri\er  float, 01 

7 
Come,  .fee. 
I  w  ill  siti^  yon   SeMMi,  0  1 

What  is  vonr   Seven,  0? 
Seven  it  is  theerown  nf  Heaven,  the  shining  stars  be  seven,  01 

8 
Come,  &'■ . 
I  will  sing  yon  Eight,  O  I 

Whit   is  yonr  Eight,  O? 
Ei"ht  it  is  the    morning  breik ,  wh.Mi  all  the  world's  awake, 0! 

9 
Come,  i6c. 
I  M  ill  sing  ^  nn   Nine,  O  I 

What   is  your  \ine,0? 
Vine  it  is  the  pale    moonshine,  the  pale  moonlight  is  nine,  01 

10 
Come,  <6e. 
I  will  sing  yon  Ten,  O  I 

\^'h:it  is  \our  Ten,  0? 
Ten  forbids  all   kind    uf  sin,  and  ten  attain  begin,  0! 


P&W  1506. 


THE    lYlALLARD, 


^'?  79 


H .  F.  S , 


t 


\>     r         -vF 


5 


J    J    J    ^Irr  J=i 


/ 


^^ 


Z' 


S 


i 


* 


W  hi»u  lamhkiiis  skip,   and      apples  are  g;ro«iiiji,  (irass  is  gTPOii.iind    roses a.liluvv. 


h       r  n^=:^^ 


r    1    r 


I 


f#^ 


iJj-ji^ 


Uhc 


^ 


*Wi 


^=sj^^ 


^■*-r 


yb>  j     s. 


m 


^ 


?=^ 


I 


I  i  q; 


fa   J  'I    ri^i  J  J   jff   r.  r   c^ 


WhyshcHiM  we      In 


^ 


^m 


St 


# 


pi  -pjfiiis  cnn,    ai]d  fattle  are  Iom  .  ing-.Mist    lie-swhite    in    valiies     beloH,    Win  shonid  we      be 


=^ 


m 


^^H 


^^ 


^y 


i 


i 


^ 


^: 


Z' 


^ 


* 


^ 


^ 


^ 


TT  W" 


all  thedav    toil.  iu<i?Lads  at  d  lasses,    a  .  lotiu- y  ith  me  1   Done  with  drndjie?y,    dast,  and    moil.in", 


allthe(l:i\    toil. inff?Lads and  lasses,    a  .  Ion";  m  ith  rael    Dune  with dradgerv,  dnst,     and    r^luil.iM<_^ 

-i         ..,-1  I > I fs^ — u — >. — i — , . -h  —         —I ■  I   11  -n 


'']  Ji  J'^^;J  lu 


•;       Haste  a-way  to  the      tfreetiMOddtree!  1  heeoMsare 


\ay  To  ine      gr 
i^     t-     Si 


are  milked  the  team's    in  the   stable;Wi)rk  is  o\er,and 


,':"      J       J-J.J    J1     f^ 


^m 


Haste  a.^^ay  to  the      )i;reenwoodtreeI 


/^     >*^ 


Work  IS    over, and 


P&W1566 


167 


^ 


r       -if 


pl.iv  is  begnn. 


Com 


=^=P 


3^ 


ome  farm.  .    prlads'.  Ere      theraoon  ri^p'Hp'vi!'h:i\eT(iii. 


|iU-^cr  J-ir    rr    U r/ f  c  cj- J  l r^^Fff^^ 


ifci 


-*-#^ 


pla\  is  bL'sjnn.Come  farm  .  er  lads  hoth    liis    lyaiid   a.   hie,    Ero      tlit^  iiKmiirise  wpwillh:i\efiiii. 


UhyshcnlHvp  be  all  the  day   toiLii)^?Ld(lsaiid  lasses  a.loiig  with  ine    UoiieMith  diiidgen.diist.audmoiliiiu 


Why shoiildwe    lie  ill  thi' d:iytoil.iD;i?Ladsaudlassesa.long  v^ithme   Uuuewith  driidgerj,dust,dudmoiliii;i 


in    ;j  i-\i.t^  Jlr  rr-?ri^N-l^ 


c&gir  t 


Why  shijiildMe    he  all   the  day  tuil.  in;i?Ladsai;d lassesa  .  loiigMithrae  Douewith  drndgPiy.diist.aud moiling; 


^ 


r  irUir    r 


F-P  PI  f 


i 


r  ^  r  ^1  c  6  g^^ 


r'l  r  t  ^  i>- 


* 


1?— »- 


Whyshonldwe    be  all  fho  day  tnjl.  iiig?Ladsai]d  lasses  a. long  with  me   DniieMith  drnd;^Pr},(liist,aiidmoiliii 


I 


•'■'"T  n  f'f    ^i'! 


^ 


<-« — « 


T      T     T       T    ^      ir*    * 


^^ 


^[^ 


^3; 


#-=-— ^ 


i  r-  I  r  r  f 


?^ 


¥S¥ 


Haste  dMa\  lij  the  greeuwofd  tree  Haste   away    Haste    a.way 


fo^    J  J"^ 


Htstea.way    tu  the  greeuMood    tree. 


^  J  N    ^  tf^' 


S    I"     it- 


3 


i 


■  ■ 


*•    if  • 


g'-    1*1' 


Haste  away  to  the  greenwood  tree  Haste   away    Haste    a.way       Hastea.way   tu  the  greenwood    tree. 


t'         I  I       .  .  .         iL«     .^ 14 IJ..4,,     


p^^'J-Jir  nm 


tri'  ' 


Haste  away  to  the  greenwond  tree  Haste  away    Haste  a. way       Hastea.way    to  the  greenwood    trei 


^>-c-  r  IJJrt 


r.rir  rrirrrri 


^ 


^ 


Haste  awav  to  t!ie  greenwoodtree  Haste   away    Haste  a.way 


rt# 


Hastea.way   to  the  greeuwood 


itt 


m 


tree 


:i 


^^ 


i^ 


a     '  »- 


i* 


i 


!'    L    n 


1  «t  1 


V4W  1506. 


fef 


168 

.V(>T.9.    THE  MALLARD. 

(A  COUNTRY  DANCE) 

1 

Sh'i     Wlii'ii  l;uiilikiiis  ski|),;uHl  ,i|)|)  Ics  t  ri>  tC''''"  '  "U  , 

(r  |•;^SS    is    Ji  rrr  ii,-u  r|    ru  M' S   h|i  I  (lU  , 

He:       \^  lien  |)i^iMiiis  cdii ,  ,itiH  cattle  arc  li)«iiij^. 
Mist   lios  «  hitc  ill  \  ;illi('s  ImMciu  , 

Tiiiielh'r-.W  hy    shoillrl    mi-    lif   ;tll  till'  H:)\    tnimi^? 
Lads  ,1'irl  lasses, aloii^  witli   iin' I 
Done  with  (iriifl;i('r\,(liist  and  mdiliii;^ 
Hai^teaway  to  the  j^reciiwood  trci" 
Sh':      The  I'ous  are  niilkfd.thc  team's  in  the  stahle, 

V^(||•k  is  ()\('r,  and  fjlaj   lie^nii, 
H' :       \'e    farmer  lads  all   l(ist\    and    alile 

K  re   (lie  niniin  rises, we'l I  li.ui'oiir  ("iin  , 
Ch'jrus:         Win    slionlrl  «  e,  <6e  . 

#2 
>>hf:      The  ij;l(i\\-wiirm  li<j^hts,as  da\  is  afiilin};, 

Dew    is    I'dlinjj  ovor  the  I'leld  , 
//?.-       'I'lie  iiu'adiiw-sM-eet  its  scent  is  exhalinjf, 
H  une\  siii-kles   their  fra^  i-atice.  \ield. 
T'jqrfhfT:        A^   ]]\     slllillld    we,   .te. 

Sh':      Tliere's    J  ink  (I'liiiferii   lustily  dancing' 

In  the  marsh  with  flickerinj;  flame , 
Hs:        And    D  idd\-l(insif-le}js  ,  spiiiniiii:;  and  prancitig, 

M'oth  and   midi^e  are  duinj;  the  same, 
Choru^:         \V  hy   shonid   we,  i£e. 

3 
^he :      Sii    Het    iml   f*r(ie,and    Uolly   and   Celie, 

M  ilh   milkinjr  pail  'tis  time  tn   have  done. 
He:        And    Kilph  and   Phil,  and     Kuhin  and  Millie, 

The  thresliiijj^  flail    must  sleep  with  the  sun. 
Tonerhcr:      Why   shun  Id  we,  .fe. 
bhe;      UpoD  the  j^reeii  hej;inneth  onr  pleasnre. 

Whilst   we   dance  «e  merrily  sing. 
He:       A  I'onntry  dance,  a  jitf.and  a  measnre. 

Hand  in  hand  v\e  \^u  in  a  ring. 
Chorum:        Why  should    we,  .C-e. 

I 
She:      O  sweet  it  is  to   fout  on  the  chner. 

Ended  work  and  revel  hegiiii. 
He:       Aloft  the  planets  never  give  over, 

Dancing,  circling  ronnd  of  the  sun . 
Tmiether :       V\  h\  shonId,  we ,  ifc. 
She:     So  Ralph  and  Phil, and    Kobiii  atid    Willie, 

Take  3  our  partners  each  of  yon  now. 
He:       And   Bet  anil   Fnie,  and  Dolly  and  Celie, 

IVTake  a  curtsey;   ladsl   make  a  how. 
Churns:       Why  should, we. 


* 


M.i\  he  omitted  in  singing.    p.iu-iKnc 


169 


CONSTANT  JOHNNY. 


H. F.S. 


^-j^=^=^ 
f^^^ 


Chirm-iii^      IVlui.h  1        <h>     Iuvp  thee     There'siiune  o    .    ther         I         a  .  dure 


^2 


^^ 


i 


^ 


^ 


-(9- 


32= 


rT-t?^j 


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m 


i 


"•  s 


'  ^mp  I. 


S-'  ^  r  r  J  I  n  J  J- .-  J  •  ^^  :  f  c  •  fJ 


Pieri^eH  bv  viinrbpniilPoase\es      M\    heart  trinsfix  .  .H  lies         S  i\    de-K'^st  ^^dl\   ("in!  be 


P  fcW1506. 


-I  LLP  ^' 


^^^ 


— i^ — - —    . 

N(!'er  I II  see  thee  more 


^ 


Can      I     see      juiiii;jj 


^^=i^ 


E^ 


^ 


P 


mine  for    ev .  t  more 

=^4 ^ ^ 


Cii!st  tlion     see       yonnjf 


y/ J  r  r  r  ir  r  r'    ^-'^'r  r     i^  J 


^ 


John  .  iiv      bleerl.iiig      Down    in     Cn     .      pids    to  .  s\  bower  See  his        sad         tp:tns. 


^'LT^r  r  II  J  ijLri^O 


i 


ff :  •  r '  J 


\^  ^  r~ 


Ji'hn.ny     bleed.ing      Down    in        Cn  .    pids       ro  .  s_v   bower  Seehis  transfixed  he.irt 


mm 


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PScW.1506. 


171 


:tt 


^ 


L  L- 1"   '.    f  *   r  J  ^  ^ 


/      >       >-   >       >- !^ 


I'lx      .    ?d  heart'.  O    dearest  John  uj    I     am  thine  for  e\er  more 


-I*—    ^      V      V        S. 


;•  >  J  I  p  ^  r 


=*=»= 


5=i 


^     *   *  j-ri- 


F^iili  of  grief  iiifl  full    ufsmtrt     Sa}  dearest  Molly  thoiilt  be  mine  for  evermore. 


$ 


Happy  as  the  li>e.loiii;-diy  Often  to  each  other  say  0      John  ny  dearest  Johnny 


*»     '^"z- 


^^ 


S 


*     • 


Happy  as  the  live.louji     day 


"    ^     ^ 

Often    to  each    other      s  ly  O 


r'-m-  i:^ 


^ 


Moll)     nov  «e  part  uo 


Si 


* 


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V.7/;. 


'"771  f,0 


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s 


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«e  part    no      more we  part    no  more 


C   I  ^   i'l^'^^   f.  f.j 


ra». 


Me     part      ("lo     more 


m 


m 


more 


Xov»  we  part    no     more  we  part    no  more 


$ 


S 


we      part      uo      more. 


—I 1 1_ 


rsi 


S 


1      1      J» 


?s^ 


M 


j:^ 


rai'. 


IT 


P       1 


^^ 


Pic  W.1506. 


1  Ti 


THE  DUKE'S  HUNT. 


J{'>  HI 


F.W.B 


iXn'xckly. 


*'  1    r..  II.  1  1     •  •  ..         _  T  L    .      -J  il. 


'\\.\^       Oil         a    hri;^lit    ;iiicl       shi  .  niiiji  ninrii,       I       hi'ird     the  iiipr    .      n 


;&tfp:::f 


^ 


p=^ 


^J'lJ.      J_|J^^^^ 


=^ 


# 


lintit  .  in<j  horit,    At    earli  .    est  hour        of     the    moru   .    itit:: 


Th,> 


i 


§^ 


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i 


5 


!MJ— C 


^p^JT'^^t^^ 


9        m 


r^^^i 


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rorle     the    Dnke      (if        Bnck .  iiiu.ham  Aiirl     mi    .     ii\a  sqiiirp  aiiH     \eo  .  man  (Mme 


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sleep     aud    phaii  .  torn       sha       .        cIians  .  .  .         scorn    .  ing;. 


lu  i  nr^ 


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P   *:   W.  1506. 


173 


CHORUS, 


^ 


1 1(-  r  r  u^ALi^u  J  ^  ;i  j^ :  /  j-  n^u\^ 


■p  r 


# 


ThcrcMns        Dido.Spendiii^o  (ieiitr)  too.aiid  Herd.Aiifl'IVavellerthat    ncverlooks  behind        him. 


^^ 


^^ 


H^ 


^ 


^ 


S=|c 


^F 


jTTrgJ 


r-  ^   L  lllj- 


p 


»T^ir 


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Cniiiitessiiiid  Towler      Bnimj -lass and  Jiiwler  were    somr-    of  the    huiiiidsthatdid       find      him. 


^ 


^ 


i      s      I      V 


^ 


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i 


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5?=p 


ra((. 


a  tempo. 


i 


i 


^ 


"i: 


CHORUS. 


P  &  W.1506. 


171 


X<?81.   THE  DUKE'S  HUNT. 


Tw;i  on  a  hriiihl  aiiH   shining   morn 
I  hivirrl  the    morry    hinifiiiu  linri], 

At  cirlipst  hiirir  of  tho   morriiiij^. 
'rinTc  rod^'thc    Uiiko  oC  Biiokiiij^ham, 
Anil   n)nu\  :i  squire'  and  yeoman  riimc, 

Dull  sle;»(j  :infl  |jh;jn(oin  sliarlows  scorning 
'I'hcrc  was  Uido,  Sjjpndi^o 
(ri^ntr\  liHi,  and  Hi'ro, 

And   'I'r  t\  pIIit  that  tu'ver  looks  bcliind  him 
Coiinti'ss  and   Tow  li'r, 
Honii^-lass  and  Jovslcr . 

Tlu'sc  werp  some  of  the  honnds  that  did  find  him. 
2 
Old   tf  irk  hi'  conrses  oc'r  the  |ilairi, 
I'^nw  I'arii'd   trios   it  hack  ai^iin, 

His  horse  and  his  honuds  fail  ii('\er. 
Oiirhi'irtv    hiiatsiiian   hi'«illsi^, 
KorPM'raiid   fur  ee'r  a  day, 

Hark  I  Furw  ird  1    s^allant   hounds  to;^ether. 
Tlirrc  w  as  Dido,  &c. 
i 

'I'lif  fiix    \\p  followed,  hrinjf  whui^, 
Onr  S|iiirl    tndi\    is  scan-e  lir^iiil, 

K  re  out  of  the  i'ij\er  hreikinj^, 
^Vwa\   he  rnus  o'er  hill  and  dile, 
Away   we   followed  without  fiil 

Hark  I  Furwardl  sleepiuj^  echoes  aw akiiig! 
'I'  here  V,  as  Dido,  <£e. 
4 
Sin    Ki'Miinl  iM'ini^  ^vell  nij^h  spent, 
His  wa\    he  tii  till-  water  bent. 

And  speedily  crossed  the  river. 
'I'o  save  his   life  he  soauht  to  swim. 
Hilt    Dido  sharp  went  after  him, 

Heiiih  !    'I'raM'ller   destroyerl   his  life  for  ever. 
There  was  Dido,  f  e, 
5 
Sii,  whoo-too-hoo  .'  we  did  proilaim 
(iud  liless  the  Dnkeuf  Bm-kin^ham , 

Our  huiiiids  the)   have  jjained  great  jjlorA  . 
This  maketh  imw  the  twentieth   foX, 
We've  killed   in  river,  dale  and   rocks. 

So   here's   an  end  to  my  story. 

There  wis  I)  idn,  ifee. 


P  &  W.  1506. 


175 


THE    BELL    RINGING. 


,yQ8^2. 


F.W.  B. 


i 


J I  r  ^  r  I  ^ 


3=^ 


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Ov,t    lay    m    Oc  _  to -bT.n'^ith'T-irijnken  nor 


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PP 


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bells  they  did    soun;   They  rang  tor  a       beltani  a       hat     laced  with  gold.    But  the  men     ot  North 


L'-.v.Rangso      't-a.-iy   and        tru-       That       n-.v-^r    w-re     b-t-_t'=r     m  D- .von    I         Ko\i 


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^V?S;g.  THE  BELL  RINGING. 
1. 

One   'lay  in  October, 
Neith-T  drunken  nor  sober, 

o'er  Broadbury  Down  I  was  wending  my  way. 
When  !  heard  of  sonje  ringing. 
Some  dancing    and  singing, 
I  ought  to  remember  that  Jubilee  Day. 
REFRAIN. 
Twas  in  Ashwater  Town, 
The  helU  they  did  soun' 

They  rang  for  a  belt  and  a  hat  laced  with  gold. 
But  th-  m-n  of  North  Lew 
Rang  so  steady  and  true, 

That  nftver  wer*  better  in  D-von,!  hold. 

4. 

When  th--  match  it  came  on, 

At  good  Callington, 


Twas  misunderstooJ, 
For.thtt  men  of  Broadwood, 

Gave  a  blow  c.n  th-  tenor  should  never  have  been. 
B'jt  th--  men  of  North  Lew, 
Rang  so  faultlessly  true, 

A  difficult  matter  to  heat  them  I  ween. 
Twas  in  Ashwater  Town  itc; 
3. 
Th-y  of  Broadwood   b-ing  na  ighfy 
Th-n  <;aid  to  our  party. 

We'll  ring  you  a  challenge  again  in  a  round, 
Well  give  you  the  char.ce, 
A*  S*  Stephens  cr  Launc-  - 


The  bells  th-'y  rang  out  o'er  th"  valleys  below. 
Then  old  and  young  peopl-'. 
The  hale  and  th-^  feeble, 
They  came  out  to  hear  th-'  sw-et  bell  music  flow. 
Twas  at  Callington  town 
The  bells  then  did  soun' 
They  rang,c6c; 
.5. 
Those  of  Broadwood  once  mor*", 

Were  obliged  to  give  o'er. 

They  were  beaten  compl-'tely  and  don-'  in  a  rr>und. 
For  the  men  ot  North  Lew 
Pull  so  steady  and  tru-", 


_ston   the  prize  to  the  winner's  a  no'e  of  five  pound.    That  no  better  th-n  thoy  in  the  West  can  he  round. 
'Twas  in   Callington  Town  'Twas   at  A=;hwater  town 

The  bells  next    lid   soun' 


Th-'y  ran<,'f-c: 
HAW.  1506. 


Th-^n  a»  Callington  town 
Th-^v  rang,itc: 


177 


THE    BELL    RINGING, 


.y'>82. 


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day    in  Oc.to.b-^r  neith-^r  -i-unk-rinor  sob-^r,  O-^r  Broalhury  Down  I  was  winding  my  way,  Wh-n  1 


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m-n   or  Ncr'h  F.-w,Rane  ^o  s»-a  iv  di  i  'rj-- Tha*  •h'"r-'  t-v-t  wa<;  h-'**-r  !".    D- -von    1     hol'T. 


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A  NUTTING  WE   WILL  CO. 


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ploughing  ot' his    Un-i,  H-?       -.alL-fd  Ho.' h>;    called  \N'o.' An  i    bad-;  his  horsr^s   ^^Un-i;  Up 


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1 1"  the  horse  b-^'.ls  ring;    For     a        nutting  we  will  gt   my     bov-,A       nuttr,g   w-   will   go;  Fro-n 


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A^SS.  A  NUTTING  WE  WILL  GO. 

~^  ^' 

Tis   ot  a  Jolly  ploujihing-min. 
Was   ploughing  ot'  hi~    'a-H, 
H-   call-l.  Ho!  h-  call^i.Wol 
Ani    bal<  his  hors»;s  stand. 
Upon   his   plough   h-*  sat,  I  trow. 

An!  loud    h-gan    to  sing, 
His   voicf'   lang  out,  so  cl-'ir  an-I  stout, 
It  ma-i-i  th'^   hor'^-   b-lls  ring. 

For  a  nutting  W"^  will  go  my  boys, 

A  nutting  w;   will  go. 
From   haz-1  bush,lou1  sings  th"  thrush, 
A  nutting  w-  will  go! 

2. 

A  mai'ien  sly  was  passing  by 

With   bask-^t  on  h-r  arm, 
Shr!   stood   to  h^^ar   his- singing  cUar, 

To  listen   was   no  hirm. 
Th^   ploughboy  stay-'d   that  pr-^tty  mail. 

And  cUsp-d   h-^r  middl-'  small. 
He  kissed  her  twice,  he  kissed  her  thrice 

Ere    she  could   cry  or  call. 

For  a  nutting  &c: 

3. 

Now  all  you  pretty  maidens  that 

Go  nutting  o'er  the  grass 
Attend    my  rede,  and   give  good  heed, 

Ot'  ploughhovs  that  yoi  piss. 
VNhen  lions  roar,  on   Atric's  shore> 

No  r,  ortal   v-ntures   n-^ar. 
When   hootsth-  owl, and  b-ars  do  grDwI, 

The  heart-  is  t'ull  ot'  tear. 

For  a  nutting  ic: 
4. 

And  yet.'tls   sa.id,  to  pretty  maid, 

Th'-r-    is  a  graver  thing. 
In  any  clime,  at  any  tim-, 

-A  plouhboy  that  doth  sing. 
So    all  you  maidens,  young  an!  fair 

Take  lesson  from  my  lay, 
V\h-n  you  do  hear  a  ploughman  sing, 

Th-n  lightly  run  away. 

For  a  nutting  &c: 


f  K  H.  i(;\7(< 


ISO 


DOWN  BY  A  RIVER-SIDE, 


JV'.'  84-. 


H.F.S, 


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jr.Q^J^.DOWN  BY  A  RIVER  SIDE. 
1. 

Down    by    a    River -sid--, 
A   fair  nm  i    I  ecpi^^d, 
Lamenting  tor    her   own  triie   love; 
I. amenting, crying,  sighing, dying; 
Dying   for   her  own   true   lov^. 


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2.  Did  you    not       promise         me.     That  1 your 

3.  Dry  up   your       bri  .  ny      tears.     And  ban  .       -    ish 


wife     should     be'         Yet 
all       your     tears,       For 


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2.  1         de.snr.ted       hev      mu'-t        mourn;  1 

3.  faith-ful      1        to         you       will  prov^;  So 


who        b-    _    lie  . 
now    she's         sing    . 


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2.  now  be 

3.  cling   .     ing. 


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Church    bells 


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who      b»       lie.      .      .     ved, 
now   she's      sing  ...  ng, 


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2 .  now  be       _       r-a  -    ved, 

3.  Church     bells  ring  -    ing. 


tar-   ry     h-re      in         t-ars       for-      -     lorn, 
mjrrted      to       her       own         tru^  lov<?. 


p  <  W.  Ifill"? 


1S2 


THE   BARLEY    RAKING, 


jYQfio. 


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woe .   fijl    lov.  ers       ni'^t      on-dav.Wi'h    sighs  th-'ir  last  t'are.wel 


-7 1 6r-< ' 

to   say;    For    -John     to  plac>!  must 


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go  a. way,     An  1      B-t   -  tv'--  h-irt  wis      hr-dk-int^.      Lov   . --rs   ot»      haw   prov-'-i  an.tru-', 

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1. 


JV?S5.  THE    BARLEY   RAKING. 


'Twis    in  th>'  prim-  of  summ-^r  tim-;, 

Wh-n   hay   it   was   a   making; 
And   harvest   tid^  was  coming;  on, 

And   barl-"/   wanted   raking; 
Two  woeful  lovers  met  one  day. 
With   sighs   their  sal  farewell  to  s-iy. 
For  John  to  place   must  go  away, 
A.nd    Betty's   heart  was  breaking. 
Lov'-rs  ot't  have  proved  untrue; 
lasl  what  can  poor  maidens  do* 


But   hiri!v  w'as  h-r  swe-t-h-art   gin-. 

With  vows   ot'  ne'er  torsaking; 
The  foolish  Wench  did   so  take  on, 

To   ease  her  bosom  ■<  aching - 
She  sent  a  letter  to  her  love. 
Invoking  all  the  powers  above. 
If  he  should  e'er  inconstant  prove. 
To  her  and  the   Barley   raking. 
Lovers   oft  have  proved  untrue; 
'las! what  can  poor  maidens  do* 


Nov.'   when  this   letter  reach-d   the  youth, 

It   put  him   in    1  taking; 
Sure    of  each  others   love   and   truth. 

Why   such  a  fuss   be  making? 
But  being  a  tender  h-arted  swain. 
From   hasty  words   h-  did   refrain. 
And   wrot--   to  her   in   g>-nt!e  strain. 

To  bid   her  cea<:e  from    quaking. 
Lovers   oft   hav-   proved  untrue; 
las!  what  can  poor   maid-ns  do* 


1  ve  got  as   good   a  pair  of  shoes 
As   e'er   w-re  made    of   I-ath-r; 

r 

1  11    pull    my  beav-r  o'er   my  nose. 
And   face  all  wind   and  weather; 
And    when  the  year  h^is   run   its   race, 
III   seek  a  new  and    n-arer  place; 
And    hope  to  see  your  bonnie  face 
At  time  of  the   Barley   raking." 
Lovers    oft   hav-  proved  untrue; 
las!  what   can  poor  mail-nsdo* 


So   wh-n   the  year   was  past   and    gone, 

And   hay  once   more  was   making; 
Back  to  his   love  cam-  faithful  .John, 

To  find  a  rud-  awaking: 
For   Betty  thought  it  long  to  wait, 
So  she   had   ta'-n    another  mate. 
And   1-ft  h-r  first  love  to  his  fate. 
In  spite  of  the  Barley  raking. 
Lov-rs   oft  have  proved   untrue; 
!a>i!  what   can  poor  maidens  do* 


HlA.  ifinf 


184 

DEEP    IN    LOVE. 


huh    Fi  >  lint^. 


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ink         or         swim.  My      sor  _    rows        fill  me to  the        brrm,        I 


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A''.'8fi.    DEEP  IN   LOVE. 
1. 

A   ship  cam>^  sailing  ov-^r  th-^  si4 
As  d'-^ply  laden  as  sh-  coil-l  b-; 
My  sorrows  fill  m-  to  th^'  brim, 
1  car»^  not  it'  1  sink  nr  swim. 

T'-'i   thousand  Udi-'s  in  th>'  room, 
But   my  trur;  lovt^'s  th>'   t'lirrst  bloom, 
Of  stirs  she  is  my  brightest  sun, 
I  said    1  wo'iH   have   her  or  none. 

3. 

I  leaned   my  back   agiinst  an  oik. 
But  first   It  h-nt  and  then  it  broke; 
Untru^ty  as   I    found  thit  tree. 
So  did   my  love  prove  t'llse  to  me. 

Down  in   a  meil  th'-  oth"r    Uy, 
As    C-irelessly    1    vent    my    wiv. 
And  plucked   flowers  red   it  1   blue, 
I  little  thought  what   love   could  do. 

5. 

I   saw  a  Rose   with  ruddy   b'ush. 
And   thrust   my  hind   into  th-  hush, 
I  pri.-.ked  my  fingers  to  th-  bone, 
I  would   I'i   left  that  rose  alone! 

6. 

I  wish!  1  wish!  but  'tis    in   vain, 
I  wish     1    hi  I   my   heart   agiinl 
With   silver   chain   and   diamond  locks. 
Id   fasten  it   in  a  go!d-n  box. 


p&w.ifin?''^   May  be  omitted  in  singing. 


IM 


THE    RAMBLING   SAILOR 


jy?87. 


H.  F.S. 


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*    '   W   «l = • -0 •-  _ 

■i      my       faC'-^F'-r  I  I     travel  the  worH  from   place   to    pUce,  And       still     am  a    ramhlinf^ 

—1—1 


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JV.^«r.  THE   RAMBLING  SAILOR. 


1. 

I  toss  my  cajj  up  into  the  air, 

Anri   away  whilst  all  are  •sleeping. 
The  host  may  swear,  and  the  hostess  stare. 

And  the  pretty  mdids  be  we-pin^i 
There   IS   nevnr  a  pl^c-^  th  it   I  do  grice, 

Which  d  second  time  shill  see  my  face; 
For   1   travel  the  world  from  place  to  pUce, 

And  still  am   a   Rambling   Sailor. 

2. 

0  when   I   come  to   London  town. 
Or  entnr   any  city, 

1  settle  down   at  the    Bell  or  Crown, 
And  court  each  lass  that's  pretty. 

And   1  say,  "My  dear,  be  of  good  cheer, 
111   never  depart, you  need  not  t'eir!" 

But   1  travel  the  county  t'lrandn-^ir 
And    still   am    a   R  imbling  Sailor. 

3. 

And    if  that  you   would    know  my  mm*, 

I  ve   any  that  you  fancy, 
Tis   n-ver  the  same,  as   I  change  my  flame. 

From   Bet,  to  .Joan,  or  Nancy. 
1  court  maids   all,  marry  non-   at  all. 

My  h-art  is  round,  and  rolls  a=  a  ball. 
All    1  trav-1  th-  land  from  Spring  to  Fall, 

An!   still  am   a  Rimhling  Sailor. 


P 1  w.ir.n" 


JHK 


A  SINGLE  AND  A   lYlARRlEO  LIFE. 


.Y'>88. 


F.  W.B. 


Sin':f)thlxf. 


i 


^ 


^^^^^m 


-d^ 


* — # 


Com-i  all  you  young  m-'n  bold.     And  us'^your  b-^st '^n-4'^avour,  As  a    wo. man's  h'-art  i^; 

''a 


SS 


^^ 


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j  rjj  i  I 


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treasure, Maktis  a    sol-i-tar.  y       moan.  Nor   knows  the  hig;hest   pleasure.    And  some  the  seas  havel 


cross'd-     For   wealth  on  foreign   coast,     And  so   their  liv--s  have  lost, Y'-t    treasure  best    lies 


4-''  .'•  'I.J 


4m 


-f-g-»- 


3^^ 


near  -   est    It     e'er    shall   be   my    boast,  Tha*  a    married  lite  is  fairest 


f  4  W.JBH? 


189 


X'JSH.  A  SINGLE  AND  A  MARRIED  LIFE. 

A     DIALOGUK. 


1.  THE   MARRIED  MAN  SAITH:— 

Come  all  you  yoang  rri'-n  boH, 
And   us-f^  your  b>^st  enfi-^dvour, 
-As  a  woman's  hf'art  is  gold  ,- 
To  wm  and   truly  w-^ar  h^r. 
For  a  man  that  is  aJon-^ 

Doth   lack  th^;  rich-'st  tr-^asure, 
Makes  a  solitary  moan, 
Nor  knows  th*  highest  pleasure. 

And   some  the  seas  have  crobst 
For   wealth  on  t'oreign  coast, 
And  so  their  lives  have  lost. 
Yet    treasure    be'^t   lies  nearest. 

It  e'er  shill   b"  my  boa>;t 
Thit   a  mir:i-d   lite    is  t'air-";t  I 

3.  THE    MARRIED  MAN  SaITH!- 

My  contention  is  not  done, 
Man's  half  a  man  unmit»  i. 
'  Min  IS  not  well  alonel" 
Said  He  who  min  created, 
The  wife  lifn's  loa-ls  doth  bear. 

Relieves   the  burdened  shoulder-. 
Shares  youthful  joy  and  care, 
And  comforts  thee,  grown  older. 

In  spring  sh-  is  thy  flower, 
In  dro^aght  a  quickening  shower, 
Sh-'s  warmth  n   wintry  hour, 
An  1  food   when  thou  goest   cp^rnt. 

God's   bles>;ing  !«  h-r  dow-r 
So  a  married   life  is  tairestl 


2.  THE   SINGLE  MAN  SAITH :- 

1  trust  fond   wonia'i-kind 

No  furthur  than  I  prove  h-r, 
She's  fickle  as  the  wind. 
And  is  a  taithless  rover. 
When  first  you   her  embrace. 

She  sooth-th  all  your  sorrow. 
Yet  speedy  shifts  her  face. 
And  curs't''"is  on  the  morrow. 

You  h«e  her  love  to-day; 
To-morrow  she  salth.Niyl 
Nor    constant  e'er  doth  stay. 
Wlif-n  skies   are  at  their  clearest, 

III   l-ave,and  fare  away. 
For   a   single  life  is  rarest. 

4.  THE  SINGLE  MAN  SAITH  .'- 

Don't    mtrry   one  that's  young, 
Mayhap  her  love  will  wander, 
Nor  marry  one  that's  old. 

There's,  no  one  may  command  her. 
Nor  marry  one  thit's  bold. 

She'll   seem  to  he  above  you. 
Nor    marry  one   that's   cold. 
She'll  nevr  truly  love  you  . 

For  the  old  ones  they  grow  stale. 
And   tl,^  scolding  rant  and  rail, 
An  1  pride   must  have  a  fall , 
And  d-'a'h  doth  end  the  fairest. 

S)  I'll   hav-  non-  at  all 
Faith.'  a  single  life's  the   rarest. 


5.   THE   MARRIED  M \N  SAITHl- 
In   marrying  a  wife 

I  hold   m  vindication, 
A  man  completes  his  life. 
It  is  the  true  vocation, 
A  wife's  a  goH'-n  crown 

For   brow  of  man    intended. 
With  children  rising  round 
His   lif-  IS  never  ended. 

A  married  man  doth  sing. 
As  proud  as  any  king, 
New  days  new  pleasures   bring, 
Though  a  single  life  be  rarest. 

Yet  a  wife's  the  choicest  thing. 
So.  a   married  life  is  fairest. 


^  cross ,  crusty. 


P   t  W.  IhUf 


1<)0 


lYllDSUMIVIER   CAROL. 


^?  89. 


F.  W.B. 


i 


Smoiitbly. 


J:  I   J-1    J-     J     J^^^ 


P 


'Twds  ear    .     ly         1     wilk'i  on       a  mid  -    sum-m-T     morn    -     ing,    Th- 


woo'l  -     -   land  a       ring 


ing,  Twa<;  ►iar-     .    ly       in  th-    morn-     .    mg at 


^^^' '-  '    '      ^   '  M        \M 


;•    * 


ear   .ly  m     the    morn  .    -  inij  At        break     .      in?      of'      day  br'-ak    .     ing         oi    liy. 


p  4  *.  1 6  n  i* 


or 


191 


JV'PS.9.    MIDSUIVIIVIER  CAROL. 


1. 

Twas  -^arly  I  walked  on  a  midsumm-^r  morning 
Th'!  t'irHs   and  Xh".  m'-adows  w-T'^    l-^ck-  i  and  gay, 

Th«  small  birds  w-^r-;  singing, th>'  woodlands  a-ringing. 
It  was  f^arly  in  thf  morning,  at    br-^aking  of  day, 

1  will  play  on  my  pip-s,l  will  sing  th>ir  my  Uyl 

It  IS  '■arly  in  th>^  morning,  at  br-^aking  ot  day. 

2. 

O  hark  .' and  O  haik!to  th-  nightingal-'^  wooing, 
TIt^  lark  IS  alott  piping  shrill  in  th"  air. 

In  r!VHry  gr-'-n  hox-r  th»^  turtl-'-doVf^s  cooing, 
Til-"  sun  IS  ]iist  gl'-iming,  arlsH  up  my  fair! 

Aris--,  lov--,  arispi  n  -n-^  fairer  1  '-pi-' 

Arts-;,  lov--,  arisrj  O  why  should  1  di»^? 


Arisr;,  loV';,  arisr;!  go  and   g-^t  your  love  posi-^s, 
Th-^   fairest  of  flowers   in  garden  that  grows, 

Go  gather  me  lilies,  carnations  and  roses 

I  11   Wear  them   with  thoughts  ot   the  maiden  I  chose 

1  stand  at  thy  door,  pretty  love,  full  of  care, 

O  why  should    1   languish  so  long  in  despair? 

4. 

O  why  love.O  why,  should  1   banished   be  from  th-ef 
O  why  should  1  see  my  own  chosen   no  more.' 

0  why  look  your  paren's   so  slightingly  on  me* 

It  is   all  for  the  rough  ragged  garments   I  wore, 
Biit   -ir-ss  m»  wi*h  flowers,  I'm  gav  a-   a   king, 
Im   glad  as  a  bird,  when   my  carol   1  sing. 

5. 

Arise, lov-,  aris-'.  n    sjng  and  in  '-tory. 

To  rival  thy  h-auty    .vas  nev-r  a  may, 

1  will  play  thee  a  tin-  ^n   my  pip-s  oi    ivory. 

It  IS  early  in  th-  morning,  at   breaking  of  day, 
I  will  play  on  my  pipes,  1  will  sing  th--  my  lay  i 
It   is  early   in   the   morning,  at  breaking  of  day. 


4vy.iRi7?  'May   b-  omitted   la  singing. 


192 


THE    BLACKBIRD. 


J^<>  90. 


H.F.S, 


tfHh  ixprtsmiin  .    •  -  »4 


3e 


^^m 


v  i\  i    a 


Hf^rp's     a       health       to   Ih*-     Blackbird      in         th''    hush;  Like 


^1-  n  I J 


ran. 


ftmjio. 


m 


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to    the       bon-ny      Wood         Po'e;        If   you'll         go     a  -  long  with         m-,        Un-to 


,1^ 


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f(  ni|)0. 


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yon-r|>-r     flow'ring        tr- 


will     catch        vcu     a       small       bird      cr  two. 


P  S  W.  1617? 


193 


jsn^j"^ 


Im 


sn 


.Y9  9C.    THE  BLACKBIRD. 
1 

H-r^'s  d  h-dltli  to  tl.H  Bldrk-hirl  in  lh>^  bush'. 
Llk>^-wis<?  to  the  bonny  Wood-do'-;  (dov";! ! 

If  you'll  go  along  with  mf, 

Untoyondf^r  flow'ring  tree, 
I  will  catch  you  a  small  bird  or  two. 

O  the  hif-dth  of  the  May  is  swe-^t  as  hay, 
And   pleasant  where  t^'-iV  it  pass. 

And  the  butterfly's  light  'wing, 

Is   a-flutter  all  the  spring, 
And  the  golden-cups  g!-am  in  th-  grass. 

3 

All  the  birds  of  the  air    consort  m  pair. 

And   nest  in  each  pretty  green  tree, 

Then  my  merry  little  maid. 

Be  not  coy,  be  not  afraii, 

I've  a  cottage  well  fitted  for  thee. 

4 

On  the  roof  there  is  thatch;  O,  lift  th--  latch, 
Come  in,  take  your  place  there  as  bride. 
You  will  find  the  hearth-stone  clean, 
FitI  a  thronf  s-t  for  my  Queen, 
'Tis  th-  s^-trlr-  th--  chimney  beside. 

5 

WVll ,  I  reckon, 'tis  so  rul-'d  by  Fa'-", 
That   I  should  be  married  this  Mav. 
Then  so  long  as  you're  inclined, 
V\hy_  I  wont  go  far  to  find. 
Clap  your  hand,  Miss',  in  min-'  with  a  \'-a\ 


* 


r-   t  W.  M.lTd 


Ma\-  be  cmitt-'d  in  singing. 


194 


THE  GREEN    BED. 


^•o  91. 


IVilh  spirii .    «  -  1S2 . 


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Young   Sailor  Dick  as  h"  st-pp-"-)  on  shor"  To  his    quarters  of  oH       r-  - 
»^.  K       I  N.  N.         I  S- ■ !*- 


f 


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*'  turn'ri  •       Th^      host-ets  glad  criH,  Dick     my     lal'.what    prizf^monry  hav*^    you      ^-arnM    Poor 


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luck!poorluck!  Yrt        Molly    my  duck, your  daughter   l'-,  f^come  to        sr-^;     G'-t    ready  some  supp>;r,viith 


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CHORUS. 


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rlJ^J^j-J^Jl 


pipt^s  and  grog.  And th''  b^'st  Gr^'-n B-'d  for       m" 


G--!      r'-ady  som'-  supper  w  ith  pip-'s  and  grog,  Ar.df  he 


P  t  W.  Ifil7rt 


195 


w 


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brst  Gr>^rnR>-d  for         m- 


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J\'99\.  THE  GREEN  BED. 
1 

Young  Sailor  Dick,  as  \i-.  st-rpp-id  on  shor*», 

To   his  quart-frs  of  oH  r-'turn'd 
Th>?   host'-ss  glad,  crir!s"Dick   my  lad  1 

What  prizc^  monfy  hav*^  you  ^^ara'd  ' 
"Poor  luck  I  poor  luck '.  yf^t   Molly,  my  duck. 

Your  daughter  I've  come  to  see  : 
Get  ready  some  suppT,  with  pipes   and  grog, 

And  the  best  Gr'-'-n  Bed  for  m"." 

2 

My  daughter,  she's  gone  out  for  a  walk; 

My   beds  are  all  bespoken; 
My  larder's  bare,  like  the  rum-keg  there. 

And  my  baccy  pipes  all  are  broken." 
Says  Dick,"ril  steer  for  another  berth, 

1  fear  I  have  made  too  bold  : 
But  I'll   pay  for  the  beer  that  I've  just  drunk  here. 

And  he  pulled  out  a  hand-ful   of  gold." 

3 

'Come  down  Molly,  quick',  here's  your  sweetheart  Dick 

Has  ]ust  come  back  from  s.ia  : 
He  wants  his  supper,  his  grog,  and  a  b-d. 
The  bfst  Green  Bed  it  must  be." 

'  No  bed  ,"cri''S  Dlck"'no  supper,  no  grog, 
No  sweetheart  for  m>-  I  swear  '. 
You  shewed   me  the  door  when  you  thought  me  poor, 
So    I'll  carfy  my  gold  elsewhere, " 


PlW.lfilT? 


i^r. 


THE    LOYAL   LOVER 


.W?  92. 


F.w.B 


i 


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1 11       wc^avHTTiy  lov**       a        gar      -     lanH,     it        shall       h**  rjrnc^^rjso      fin*-.  1 11 


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S''t     It  roijn'-lwith       ros     -     r^s.VVith      lil     -      i-s.plr.ksand  thynr-.         An  i     111     prf-s-rt      it 


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to        mv  lovf,VV'h''n      hr  comfshakfrom     ?-a,  Rjr  1      lov-mvlovand  I     lov-    mylov- b 


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-  caus--  my  lov^-  lov^s  ni-- 


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197 


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X'.>9'2.    THE  LOYAL  LOVER. 
1 

I'll  w-av--  my  \ov  a  garland, 

It  shall  hn  drf-.ssrtd  so  firif ; 
I'll  set  it  round  with  ros^s, 

\\ith  lilies, pinks  and  thyme. 
And  I'll  present  to  my  love 

When  he  comes  back  from  sea, 
For  I  love  my  love,  and  I  love  my  love, 
Because   my  love  loves  me. 

Rj-fol-di-rol  fol-di-rol 
Ri-fol-riddle-li-do. 
2 

I  wish   I  were  an  arrow. 

That  sped  into  the  air; 
To  se»-k   him  as  a   sparrow. 

And  if  he  was   not   ther-. 
Then  q'jickly  I'd  become  a  fish 

To  search  the  raging  se^. 
For  I  love  my  love,  and  1  love  my  lov^, 

Becaijse  my  love   loies  me. 
Ri-fol    Sec. 

3 

I   would   I  \v-r-  a  reaper, 

I'd  seek  him  in  th"  corn, 
I  would  I  were  a  kerj.er, 

I'd  hunt  him  with  my  horn. 
I'd  blow  a  blast,  when  found  at  last, 

R-neath  th-  greenwood  tr-e, 
For  1  love  my  love, and  I  love  my  lo\-e, 

Because  my  love  loves  me. 
Ri-fol  &c. 


P«w.i6nH 


19« 


THE    STREAMS   OF   INANTSIAN 


^y9s. 


Smofif/iJi/  nnil  iiafh  <  xprtssion  ,    *  -  loo 


H.F.S 


CT3.,071 


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O    thf    streams   of    Nant   -      si  -   an;    In 


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two  parts  (ii    -    wV;     W'herf;  th*?     young  men       in  dan  -  cing  meet        swvet- heart       and 


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sound     of      ♦h'-  vi    -    ol,      O      it     mdk-'S    my     h'-art 


ring. 


And  th-   sound  of     the 


p  i  *.i6n» 


19tf 


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rail. 


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jro98.    THE  STREAMS  OF  NANTSIAN 
1 

O  th';  Strfams  of   Nant-vi-an 

In  two  parts  divlrlf-, 
W  hf-rr  thi^  young  mm  in  dancing 

Meet  sweetheart   and  bride. 
They  will  take  no  denial, 

We  must  frolic  and  sing. 
And  the  sound  of  the  viol 

O  it  mak-s  my  heart  ring. 
2 
On  the  rocky  cliff  yonder 

A  Castle  up-stands; 
To  the  seamen  a  wonder 

Above  the  black  sands, 
'Tis  of  ivory   bullded 

With  diamonds  glazed  bright, 
And  with  gold  it  is  gild-d. 

To  shine  in  the  night. 

3 

Over  yonder  high  mountain 

Th--  wild  fowl  do  fly; 
And  in  ocean's  d'-'p  fountain. 

The  fairest  pearls  lie. 
On  eagle's  wings  soaring, 

I'll  sp'-ed  as  \h>'  wind  ; 
Ocean's  fountain     exploring, 

My  true  love  I'll  find. 

4 

O  the  str'-ams  of   Nant-si-an 

Divide  in  two  parts 
And  rejoin   as  in  dancing 

Do  lad',  th'-ir  t.w-eth-'artc. 
So  th"  streams,  bright   and  shitiing 

Tho'  parted  in  twain 
Re-untt'-,  intertwining, 

Onn  thenceforth  remain. 


P  t-*.i6i7i; 


200 


THE  DRUNKEN  lYlAIDENS 


^^9  94. 


F.  W.B 


CTif «  rfuUy. 


iiJ^'iV  u  J 


J  ;  J-  i' 


N     p 


n* « — ■ ■ — « # \r- 

There  w-rti       three  drunken     maid    -    ens  Came      from    the   Isl*-     of     Wight,  They 


M 


f 


i^ 


^^ 


T 


\ 


s* 


1    «l    g] 


^ 


? 


l^^^-^-^-j- 


E^ 


ji 


drank    from  Mon-dav       morn      -       ing.iNor     stay'd    till  Sa-tur-  dav  night,      Wh^-n 


^m 


^ 


^v.g    ^ 


J^^ 


c 


T 


^ 


Elff 


<?r     f  tir  tt 


^ 


fe^^ 


N S- 


i^ 


N— IV 


^ 


^^ 


^ 


r'    r 


Saturday  night  dli  come.     Sirs'.     They  would  not  then  go      out,  Not   the  three     drunk'-n 


i 


^t^ 


^ 


^M 


^ 


m 


m 


^i|i^ 


c5>i! 


* 


^ 


# 


[  c  Pi^  J'  J  ;  13 


i 


d-ris.   As  thev    pushedth-     jug      a    -    bout. 


^i^ 


i 


m 


a'    it^^ 


V  * 


-^ 


l^""  f   f  j; 


si 


^ 


^ 


^ 


r 


p  1  *.i6i7<; 


201 

jsro  91-.    THE  DRUNKEN  IVIAIDENS. 
1 

Th'-r-'  were  three  Hrunkm  maiHens, 

Came  from  the  Isle  of  Wight. 
Th-y  ^rank  from    Monday  morning, 

Nor  stayed  till   Saturday  night. 
When  Saturday  night  did  come.  Sirs'. 

They  would  not  then  go  out ; 
Not  th>*  three  drunken  maidens, 

As  they  pushed  the  jug  about  . 

2 

Thf-n  came  in   Bouncing  Sally, 

V\ith  cheeks  as  red  as  bloom. 
"  Make  space  my  |olly  sisters. 

Now  make  for  Sally  room. 
For  that   I  will  be  your  equal , 

Before  that  I  go  out." 
So  now  four  drunken  maidens, 

Th'-y  pushed  the  jug  about. 

3 

It  was  woodcock  and  pheasant. 

And  partriges  and  har-. 
It  was  all   kinds  of  dainties, 

No  scarcity  was  there. 
It  was  four  quarts  of  Malaga, 
Each  fairly  did  drink  out, 
So  the  four  drunk'"j  maidens. 

They  push^-d  the  jug  about. 

4- 
Then  down  came  the  landlord. 

And  asked    for  his  pay. 

O!   a  forty-pound  bill,  Sirs'. 

The  damsels  dr''W  that  day. 
It  was  ten  pounds  ajiece.    Sirs'. 

But  yet,  they  would  not  out. 
So  the  four  drunk'-n   matd^-ns, 

They  pushed  the  jug  about . 

5 

'O  wh'-re  be  your  sp-ncers? 

Your  mantl''S  rich  and  fin"  '  " 
"They   all  be  a  swallowed 

In  tankards  of  good  wine  .  " 
"O   where  be  your  charact^-rs 

Y^-  maidens    brisk  and  gay?  " 
O  they  be  a  swallowed  ! 

We've  'drunk  them  clean  a«ay." 


Ptw.isn? 


202 


TOBACCO  IS  AN  INDIAN  WEED. 


DUET. 


JV.0.95. 


H.F.S, 


In  iim.ti  iii<>  liiHi 


}-... 


=^^ 


^ 


m 


s 


;s^^-    drfj 


=F=^ 


=*=«: 


^^ 


«t 


r«n. 


o» 


^ 


^ 


=3=i 


s 


To 


bac  -  CO     is 


i 


-j^ 


m 


an         In-dian  w>--ri, 


fK7iiin. 


Grows 


To     -    bac-  CO    is 


\ 


an        In-iiian  wr-ed. 


an  In-  dian  W'-^d,  Growsgr— n  at 


^4^'  I  n  J  ^^ 


^y^^^^^^^^T""'^^ 


^ 


rf  ^  J  -r;  n  J  J    1^?:^:^=^^ 


i 


gr^-Ti  at       morn,     is   cut        down  at  eve 


^ 


>.      N  ^ 


-*-* 


^ 


morn,        is    cut  down     at       ev^  cutdownat    '•v- 


It         sh>^ws  c'jr  d--  -     cay 


w- 


It      sh-ws 


/jr  drtcav 


Piw.icn? 


203 


this 


* 


Think  of       this,  think     of       this,        When  you    smok-to  -  bac 


F=^ 


f7\ 


^ 


CO. 


Think  of     this think    of       this.        When  you    smoke  to  -  bac 


.t^*t=m 


sS; 


CO. 


t/fc-Urr 


I 


sffi 


CN 


*f07* 


^ 


i^ 


J 


rr 


m'95.  TOBACCO  IS  AN  INDIAN  WEED. 
1 

Tobdcco  IS  an   Indian  W'-e.i  , 

Grow;  jjreen  at  morn, cut  down  at  tv^; 

It  shows    our  d'-cay; 

W"  fad"  as  hay. 

Think  on  this,  —  wh-'n  you  smoke  tobacco. 

2 

Th"   [.ip-thdt  is  so  lily-white, 
Wherein  so  many  take  delight, 

Gone  with  a  touch; 

Man's  lifH  is  such  , 

Think  on  this, —  when  you  smok"  tobacco. 

3 

The  pipe  that  is  so  foul  within, 
Shews  how  the  soul  is  staini-d  with  sin; 

It  doth  require 

The  purging  fire  . 

Think  on  this, wh'-n  yr.u  smok-  tobaccu. 

4 

Tti^  ash-s  that  av  l»lt  behind. 
Do  s^rv-  to  put  us  all  in  mind, 
That  unto  dust. 
Return  we  must. 
Thi-nkon  this, —when  vo.u  smoke  tobacco. 


r 


The  smok-that  doth  so  high  asc-nd, 
Shows  that  our  life  must  ha'.--  an  end  ; 

Thf:  vapours' gor,-- , 

Man's  lif--  is  done. 

Thinkonthts, Ahenyou  smoko  tobacco. 


2(14 

FAIR     SUSAN 


JV?  96. 


H    F.S 


Sinijiiihiff  &  with  exi>rtssi<in   J  =  9v. 


i— ^^JUq 


-r n- 


^^ 


Fair     Su-san     slum  -  b-r-'d  in     shsdv 


,* 


SS 


s 


•     ^ 


"'I — r- 


^^^ 


^»  mi"j 


V. 


^^ 


# ^ 


^ 


J  J-   ;  r  c  I  r    W'   :-^^ 


bow     -      -T,  ^ate  hid     she     thought    trom      -v  -  ry      •iy-' 


Nor     driam'd      sh-J 


i 


a  Q  u 


i'vj.  O  ^-^ 


c_^ 


^^ 


r    r      r 


r<(fj. 


Nor     dr-'ani'l    sh--      in  that  tranquil  hour.    .    .  H-iT    o-A-n  tru-^     lov 


1^^^^       "^^^-^^ 


tfnn>'i. 


ifc 


P  I  *.lfil7? 


205 


^'996.     FAIR   SUSAN 
1 

Fair    Susan  slumb'^irrd    la  shady    bower, 
Sdtr   hil.ihr!    thought,   from   -^VTy   tyt; 

Nor    drnam-^d    she  in   that    trdnquil    hour 
Hrr  own  tru''  lave  was  passing   by. 

2 

He   gazed    in   rapture  upon   her    beauty. 

Sleep   did    he.-  charms    but    inorp   reveal  ; 
He  de'-med    it  sure    a  lever's  duty 

From  those   sweet   lips  a    kiss  to    steal. 
3 
In    shame  and  anger  poor    Susan    started, 

With  eyes  afUme  she  bade  him  go  ; 
'Retain   no  more!    —for    --ver    parted; 
Cruel    and    base   to  use  me   so!" 
4 
'By  too  much    love    I    hive  offended, 
Forgiv-  nK   if   1   uause   you    pain  ; 
But   if  indeed   our   lov-   b-'  ended, 

Pray    give    me    back    my    kiss   again  ." 


p  4  ".ifin« 


206 


THE     FALSE    LOVER 


A*?  .97. 


H.F.  s, 


In  nindtriit)-  tinu  J  .  z  li. 


i 


i* 


J--  J- J-  i  J  ^ 


H*^— j»-^ — e 


^ 


p 


Ir        1^  f  =^ 


\'         ¥ 


I       court  - '"1     a        Uss      that  was     bux-om    and     gay,  Un-h-^'^d  -   ing  whit     p-'o-pl^      a 


^ 


^S 


^ 


P 


? 


i 


r«/t; 


A=t^ 


^^ 


^=^ 


tempo 


^ 


P 


'    J   ^ 


-gainst    h-T    did    say,-         I         thought     h'T      as        con  -  stant      and    true      as      the     day;         But 


±s^S 


^^ 


rail: 


N    ^    ^ 


N — V 


^ 


P 


r      r 


^ 


r  ^  r 


now     she    IS    going  to   be   niirried!  But   now     she      is  going    to   b"    iiurned! 


r^^Tj 


^^ 


^s^ 


^3t 


^ 


TitU 


o 


.w^ 


:S=i 


^ 


^ 


•  /  -!  e 


P  i  W.  Ifil^:) 


207 

J^o  97.      THE    FALSE  LOVER. 

1 

1  courtfd  d  maid-^n   both    buxom  and    gay, 
Unh'^eding  what   people  against    her  did    say, 
I  thought  her  as  constant   and  true  as  the  day 
But    now     she   is   going  to  b--   nurried. 
2 

0  whun  to  the    church    1    my   tair   love   saw    go. 

1  followed    her  up   with  a  he  irt   full  ol   woe, 
And   eyes  that   with  tea's  ot    griet'  did  o'erflow. 

To  see    how   my   suit    had    miscarried. 
3 

0  when   In  the  chancel    1  saw  my  love   stan', 
With   ring  on  her  finger,  and  true  love   in  han', 

1  thought  that  for  certain  'twas    not  the  right    man, 

Although  'twas  the   man    she  wa^   taking. 
4 

0  when    I    my  fair  love  saw  sit   in  her  seat 

1  sat    myself    by  her,   but  nothing  could   eat; 
Her  company,  thought   1,  v.'as  better  than  meat, 

Although   my   hi=>art  sorely   was  aching. 
5 
O  woe  be  the  day  that  1  courted   the   maid  , 
That  ever  I  trusted  a  word  that  she   said. 
That  with  her  1  wander'd  along  the    green   glade, 
Accurs'd    be  the  day  that   I  niet  her. 
6 
O  make   me   a  grave  that  is  long, wide  and  deep. 
And  cover    me  over  with  flowers   so  sweet. 
That  there  I    inay  lie,  and   may  take  my  last  sleep; 
For   that  Is  the  way  to  forget   h-r. 


p  k  A.|iil7a 


2U8 


THE    BARLEY    STRAW. 


JV?  98. 


H.F.s. 


h'tth  si'irit.  J  =  104 


i 


tefe 


m 


5^s 


K      K.       N' 


S 


¥ 


^^ 


-#— # 


As    Jjn  was      hurrying  dowTi  th-    gli.l-',      He 


^^^^m 


K^>  ;  j^i  j":^ 


^^— N- 


^ 


^=«= 


# 


"0     whith-'r  so     fast?  the     mii.i'-n    ask-' i , " L-t's  br-i-     mi  talk   d 


met       his    sweetheart    Kit. 


bjt,"     "I'm   going  to  the  barn,  and     it     you'll    come    And  help     me     thrash     th-- 


stro'  .    .    .    That 


ttmp'i 


m 


rail: 


f  JlJ'  J- 


w 


^ 


ud  lih. 


tiinpu 


lS=t!K 


m 


'¥=^ 


^H-# 


3^ 


task    compl-te, why  then   my  sweet,  A        ram-ble   we    will     j;o^     i^ — : — : — T' .     .  th-vt  task  complete  why 


^^^ 


^77-r->i 


2qr=je: 


>i     1?^ 


^^ 


^ 


1^=^ 


5 


m 


^^^ 


^ 


''c/tn  TOfe. 


<I>   <^    ■•^^  ^ 


^^ 


"1     J   1 


f  i  *.i>iii;i 


209 


JS'?  98.    THE  BARLEY  STRAW. 
1 

Ab  Jdn  was  hurrying  down  th'^   glddn, 
H-   m--t    his  swnr-.th-art    Kit  ; 
"O  whith-T  so  fast?"  th-"  maiden  ask'i, 

"L-fs   bid-;  dni  talk  a  bit." 
"fin    going  to  thr!  barn, and  it'  you'll  conir;. 
And  h'flp  mt  thr^-sh  X\\t  stro', 
That  task  compl'-t-f,  why  th-^n  my  swrtrit, 
A   rambk  Wr;  will   go." 

2 
Sh-;  gave  consent,  to  w^rk  th-'y    w^-nt , 

As  if 'twere  only   tiUv; 
Th''  flail  he  plied,  whilst   Kit    untied. 

The    -.heaves,   and   cleared    away. 
O   ■villi'.ig  hands    made  labjur  li^ht, 

Anl   Vre  the   sun  wa-  low. 
With  arms  entwin-'d,  these   lovers    kind, 

Did   down  the  vallies  go. 
<i 
Said    Jan'.'thou  art   a    iielj  ful   lass, 

Wilt    thoij   be  mine   fur  life?" 
"For  sure!"  she  said.     To  church  they    sped, 

And    soon  were  man   and    wife. 
A    lesson  then,  for  ail    young    men 

Who   would   a    courting    go, 
Your  sweetheart    ask    to    share    your  task, 

And   thresh   th--    Barl-y    Stro*. 

4 

Now   niany  j  y-a;  ,  this  coupl--  dear, 

They    livd   in    harmony; 
And  children    hid,  both  lass   ani   lad, 

I  think  'twas  thirty  three. 
The  sons   so  hale  dii   wi-'ld  the  fUil, 

And   like  their  father   gro*  ; 
The    maidens    sW''et,llke   luoth'-r   WTe  neat: 

And  cl^an   as   the    Barley   Stro'. 


p  i  w.ifin" 


210 


DEATH    AND   THE   LADY 


y'}99. 


Smnnthlff  &  ruther  altuly  J  =  84-. 


H.F.S. 


^M^^tjj 


^BE 


^ 


i^^ 


■      • 


0 — w 


^^ 


* 


A^        I     walkr;(i    oat       on^-       dav,       ow      day,       All  in       th--        ui'-r  _  ry 


m 


jCl 


r  '    • 


S 


$ 


^^4^4 

:*:/  *> 


1 


«5i__* 


1^ 


*7 — * 


^3^^^_^^*^ 


r   r  r  r- 


^^^F^^^ 


^--^-^ 


s 


i^^ 


i3 


^ 


^ 


s 


month     of     May      Wh'-n    Iambs  did      skip      an  i      thrush_ns      sing,     And         ev'_    ry     bush     with 


■^  T  r  '  r- 


^g 


^ 


m 


buds   did     spring. 


i 


s 


lL  riH^r 


^V  p<^'^ 


^»%;rif 


m 


^  d  i 


ps 


^¥ 


^^ 


Zl^ 


i 


THE  SAME  ARRANGED   tor  FOUR  VOICES. 


^ 


F^ 


p       0       p. 


^-nr-^ 


0  0 


? 


E^ 


i 


^ 


ITO. 


As       I     walked  out      one    day      on-     day       All       m      the       in«r-  ry        month    of      May  When 


^ 


"^  J         J         J    1^ 


^         •  * 


E^ 


W    I     * 


■9 # 


^  As       I     walked  out      one  -day      one      div      All       in     the       mer  -  ry         month    of      May   When 

O^TCNOR  /  ■;  I  1        _  _L 11 


Dnt 


i 


S 


5 


J    iJ     J    J 


f^ 


f 


As       I     walked  out     one    diy      one      day      All      In     the       mer  -  ry        month   of     May  When 


SASS 


^s 


m 


? 


^^ 


l>f      Mav 


y~~* 


As       I      walked  out      one    diy      one      day       All       in      the       mer  -  ry         month    of      May  When 


211 


i 


^^ 


*     d 


*    4 


i 


Idmbs   did         skip       and     thrush_r;s 

rf*^ 


m 


sing 


And      -v'  -  ry     bush       with       buds       did     s^.n  .g. 


^ 


V      bash 


^         J 


i 


lambs   did        skip       and     thrush-^s        sing         And       ev'  _  ry      b^h      with       buds       dH 


:F=S= 


^ 


spnng 


^ 


•^       Umbs    did        skip        and     thrush-^        sing        And        ev  -  ry       bubh 


with 


buds      dH 


si'yng. 


./V'^  .9.9.    DEATH   AND  THE  LADY  . 


1 

As  I  wdlk.'d  out  on.^  day,  one  day. 
All   in   th*"   nit^rry    month    ot'    May, 
When  lambs  di.l  skip  and   thrushes  sing. 
And  rtv'ry  bush  with   buis  did    spring. 

2 

I  met  an   old   man    by  the  way, 
His  head   was   bald,  his  beard  was  gr^y. 
His  coat    was   of  the    Myrtle-grei^n, 
But   underneath    his  ribs   wete  seen. 

3 

He  in   his  han  1  a  glass  did   holi. 

He   shook  as  one  that  shakes  with  cold. 

1  asked  oi  him    what  was  his  name. 

And  what  Strang"  place  from   which   he  came. 

4 

"My   name  is   Death,  fair  maiden,  see 
Lords,  DuVes  and    Squires  bow  down  to  me; 
For  of  thi=-    Branchy   Tree'""  am   I 
And  you,  fair  maid,  with  nie   must   hie." 

5 

"I'll    give  you    goJd,if  me    you'll    spare, 

I'll    give  you    costly   robes    to  wear!" 
"O   no,  ^weet  m^id,  make   no  delay 
Your   sand  is  run,  you    must   away!" 

6 

Alas!  alack!    the  fair    maid    died. 
And   these  the   last  sal   viords  she  cried;    — 
"Here  lies  a   poor ,  distressed   maid. 
By  Death  —   and    Deith  aion.-   betrayed." 

"*  W^u'  »■•-•  want   01/   th'- "Branch!/  Tree"  I  do  wit  kn-t'V,bif  ^j  th-'  wjrU  run  in  'Ml   Veraions. 


f  i  *.lfil7« 


■iVi 


ADAM    AND     EVE 


c/VP  WO. 


H.F.S. 


^=fc 


a^ 


^^^'      t-JitlfLLT 


^ 


^ 


1»-t- 


0^    N    V    N 


^      '  <l  1 ^^-^7 r — i 


P 


Both      sex_ies  givr?  r-xx    to    my     fin   -    cy,       In     prdiise     of   sw-^et  woman    I      sing. 


Con- 


i 


k 


% 


r     1 


=?==F 


-q — F*- 


^^ 


r        *; 


-fin'i     not      to     Doll,  Su-!    or     Nan     -      cy;       The  mdtrf     of     th-^     beg-gar    or     King 


Wh-^n 


# 


m 


i 


^ 


Ai_dm    wd^     first     d  -  ere  -  a  -         -  ted,  And      lord    of     thr-      u  -  ni  -  verse  crown'd;  His 


-td  UJ 


UJLi.' 


i-U-O^ 


tf * 

hdp_pi-n--ss  wds  not  com-ple 


f    r    f 

ted,    Un   -  ti!     thdt    d    helpmate  wis   founi . 


r         1 


P 


^ 


P  «  W.lfin': 


213 

,y9  100 .        ADAM    AND    EVE. 
1 

Both  sexes    give  e-ir  to  niy  fancy, 

fn    praise  of  sweet   woman  1  Mri< 
Confined   not  to   Doll,  Sue,  or   Nancy, 

The    mate   of  the   b-.^i^\x      :    king. 
When    Adam   was   first   a-creat--.l , 

And    lord   of  the  universe   crown'd  , 
His    happiness    was    not   compl'^ted  , 

Until  that  a   h-'lpmat"  was  fcuTid. 
2 

A  garden  was  planted    by    Nature  , 

Man  could    not   produce  in   his  life. 
But  no  rest  had   he  till  his  Creator 

Discovered  lie  wanted  a  wife 
H"  had    horses  and  foxes   for  hunting 

Which  most  men   love  dearly  as  life 
No    relishsonie     food   was  a   wanting 

But  still  —  h--  was    short   of  a    wiff  . 
3 
As  Adam  was   resting  in  slumber. 

He  lost  a  small  rib  from   his   side. 
And   when   he   awoke  twas  in  wonder. 

To  See  a    most  beautiful   bride. 
In  transport    he    gazed    upon   h^r. 

His   happiness    now    was  complete 
H>^  praised   tlK  bountiful   Donor, 

Wlio  to  him   had   given  a   mate. 
4 
She  was   not  taken  out  of  his  head,  sir, 

To  rule  and  to  triumph  in   man. 
Nor  was  sh'-  took  out  of   his  foot,  sir. 

By   him  to  be  trampled  upon. 
But  she  was  took  out  of  his   siie,  sir. 

His  equal  co-partner  to  he; 
So,  united   is  man    with    his    bride     sir, 

Yet  man   is  the  top  of  the  tree. 
5 

Then   l-'t    not   the   lair  be  despisp] 

Bv  man ,  as    she's    part  of  hims-lf. 
L»t    woman    by   man   be  a-prized 

As   mor:?  tlian  the  world   full  of  w-alth. 
A  man    witliout   woman's   a  beggar, 

Tho'   by   him  the  world  we're    posstss'd 
But  a  beggar  that's    got  a  good   woman 

W;tii   more  tlian  the  world   is   he   bless'd  . 


P  i  W.|.  IT  1 


214 


I    RODE    MY    LITTLE  HORSE 


J^o  lOl. 


F.  W.B 


I         rodr;     my     lit-tl-^     horse, 


"• V » w- 

From  Lon_don     town    I         dm''; 


fe 


ft 


^ 


\ 


m^^ 


M. 
— XT 


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^^ 


^:^!g 


^m 


w^^ 


w^ 


^3 


"* V — 

w-nt      in  -  to     th--    coun  -    try       To      srfr^k     my-s-'It'      a        dinir;, 


And       if       1     meet,    a 


^ 


f        1 


S^ 


Ibrf 


i 


p    *    p 


\     N 


^ 


# 


*^ 


~        ^       ^      ^     ' 


^       t^         / 


pret  -    tv    nidi'i,    B-'    sure    I'll     kiss   her       th-n,  Ani  sweir  thit    1      will     nijr_ry    h-'r.  But 


\^^ 


^m 


-*f — ^ 


=*=^ 


-* — ^ 


-^^m 


*=a: 


f 


* 


^ 


^ 


^^^ 


^3fc 


'11      swear   thdt     I        will 


— * r 

win      not      t-'U       her     wh.-;n! 


But       n--ver      t--ll     her     wtfn'. 


m 


s 


.^ 


13^ 


^ 


i 


~~zr- 


p  i  w.isi;  .' 


215 


jV?  ICl       I   RODE   MY  LITTLE  HORSE. 
1 

I  rode  my  littl-^  horS'',  from    London    to'A  n   I  Cdm-?, 

I  rod"  into  th-^  country,  to  seek    niyselt  d  ddm--. 

And  if  I  meet  a  pretty  maid,  be   sure    I'll    kiss   her  then,- 

And  swear  that  Ta' IK   marry  h-r  —  but  will  not  tell    her   wh-'n! 

2 

I  found  a  bixom     widow,    with    many   tonb   of    goli, 

I    livd  upun   her  fortune,   as   long  as  it  would    hold. 

Of   pounds    I   took    five    hundred,   bettrud-  my  horse,  and  th--n  , 

1   promised   I   would   marTy    h-r  but   never  told    her    wh-nl 

3 

A  vintner   had   a  daught--r ,    the  Golden  Sun    his   sign, 
1  turned  at  his  tavern  ,  I  drank    his  choicest    wine; 
I  drank  out  all    his  cellar,  bestrode   my    horse,  and  then, 
1   said  the   n.ail    I'd    marry,  but   never  told    him     wh-ni 

4 

Th'-   guineas  are    expended ,  the  win-'   is   also  spent; 
The   widow  and   the  maiden,  they  languish  and  lament. 
And  if  they  come  to  se-k   me,  I'll    pack  them    back  again. 
With   promises   of   marriage,  —   but  n-ver  te4l   them    wh^n. 

5 

My   little    horse   I   mounted  ,  the  world  that  I   might  see, 

I   found  a  pretty   maid-n  as    poor    as   poor  coul  i   be. 

My   little    horse   neglected,  to   London    ran    away, 

J  asked  if  she   would   marry,  and   bade  h-^r  name  the  day. 


F  4  *.|B|7d 


21fi 


THE  SAUCY    PLOUGHBOY. 


jyp  W2. 


H.F.  S. 


mihSpirU.         X 


maid-  >'ns,Anri      lis  -  ten  un-to       ms; 


Bii     snv.      towed    a  ploughboy, N'onn 


\ 


|{V  f  M-  [  n   ,Hg^-p^-^^=f=l 


N — N 


hath       a  heart  more     free.  The  ploughbcy.is     so        sau   -    cy,  Yet        n-'ver  doth     an 


i 


O: 


^^ 


t=fw: 


n  J^  -^  I J  f 


*^ 


"F=^ 


-^  — ^  ^ 

noy ;  O      who       in  all    the        world  maids    is      like     a  ploughing    boy' 


^ffl 


P^JgS 


'  t  A.  i6n>! 


217 

m>W2.  THE  SAUCY  PLOUGHBOY. 
1 

Coni'-  all  you  pretty  mdidens. 

And  list-^n  unto  me. 
Be  sure  <ind  wed  a  plough-boy. 

None  hath  a  heart  more  tree. 
The  plough-bov  is  so  saucy, 

Y'-t  never  doth  annoy, 
O  who  in  all  the  world, maids, 

Is  like  a  ploughlng-boy  ? 
2 

He  nseth  in  the  morning, 

Awaking  with  the  sun  . 
And  as  a  dew-drop  flashing. 

So  gleams  his  eye  with  fun . 
When  all  the  birds  are  singing. 

He  SI  ngeth  too  for  joy . 
O  who  in  all  the  world, maids , 

Is  like  the  ploughing-boy  ! 

3 

When  coming  from  the  milking. 

And  carrying  my  pail , 
The  saucy  plough-boy  leaveth 

To  help  me,  hook  and  flail . 
And  when  the  hay  is  making, 

1  cannot  well  be  coy  ; 
For  who  in  all  th"  world,  maids. 

Is  like  the  ploughlng-boy? 

4 

At  even-tide  he  waiteth 

Beneath  the  green-wood  tree 

And  will  not  dance  with  others. 
He'll  only  dance  with  me. 

No  pleasures  of  the  country 
His  honest  heart  can  cloy, 

0  who  in  all  the  world,  mai  is. 
Is  like  the  ploughing-boy  ? 

5 

i  swear  to  you  young  maidens, 
A  plough-boy  I  will  wed, 

1  will  not  have  a  soldier 

For  all  his  jacket  red, 
No  sailor,  no,  nor  footman. 

Shall  e'er  my  thoughts  employ 
The  lad  to  win  my  heart, maids, 

Shall  be  a  ploughing-boy . 


i  ft.  1617?; 


218 


I'll  build  iyiyself  a  gallant  ship. 


(SOLO    or   QUARTf.TTE. 


.r«  lOS 


F.  W.B 


i 


SinoiiihJy. 


^m 


^m^ 


^^ 


B  0 


S *- 


i 


111        build     my-  self  a  gal  -   lant    ship,         A         ship      of      no  -    bl" 


-V- 


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m 


^^=1 


r      tjLLr 


I     [ 


V-  b''i,  1  * 


m 


M «_ 


n  i  i 


^ 


*  • 


^^^ 


i 


b  I,    »     * 


^ 


^ 


fame, 


And        four    ar,-*     twen  -    ty         mar-  i  -  n-^rs.     Shall  box    and    man       th>f 


«i  I 


^W 


*    »  *     i'» 


u  n  . 


t-r  r    r 


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^ 


^ 


^ 


E^ 


*  ■ 


S= 


=B=^ 


i 


^ 


•  r       • 


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sam-^,  And 


I        will     stand  with  hf-lni      in  hand.         To       urg"    thfim    o'er    th' 


^ 


3 


S 


^ 


r-     ti! 


T T 


* — i- 


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i 


«s=s 


i. 


n  J  J 


4fi 


e^ 


^ 


C-T  r  r 


^-^W-i.-::i :  J  '^ 


?;* 


r"r  I  '■  f'  ^  r^^^^ 


i 


^ 


main,     to    urgeth-^m,  to     urge     them,  And        I      will   stand  with  helm    in         hand,        To 


m 


'm 


^ 

-»"- 
< 


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TT 


P  i*.  1617^' 


219 


a^^~T 


^^ 


urg--        th--m     oVr  the        mam. 


Se 


^ 

•^  ' 


^RF 


-W- 


i 


F¥ 


=5^5 


r=f=^ 


f 


.V^/g.^.    I  LL  BUILD  MIYSELFA  GALLANTSHIP. 
1 

I'll   buili    my^'lf  4  gillant    ship, 

A  ship  of  nobk   t'dm--; 
An'l   tour  aril   twenty   niiriti-rs, 

Shill   bjx   and   man  the  '^anw, 
And   I    will  stand,  with   h'-lm   in  hand. 

To  urge   th-rn  o'-r   the  main. 
2 
No   scarf'   shall  e'er  mv   shoulders    go, 

i    will    not  ccmb    iiiV    hair; 
Th-  pale   moonlight,  the  candle  bright 

Shi'.l    neither  t^ll    I'm  fair. 
B-sil-  the   mast    I  stand   so  fist , 

Unresting  in    lespair. 
3 
The  rain  iiiav   b-'it,  and   round    my    feet 

The  waters  wash   and   foam, 

0  thou    North  wind    lag  not    behind 

But    bear    mr-    tjr    from    home! 
My  hands    1    wring,  and   Slabbing   sing 

As   over    seas    1    roam . 
4 
The  moon   so  pale    shall    light    my   sail. 

As  o'er   th-*  s-a   I   fly^ 
To    where    afar   the    Eastern  star 

Is  twinkling  in  th-  sky. 

1  would    I    Were     with  mv    love  fair, 

Er''  ev-'r  my  lov'-    iie  ! 


P  t  *.lfil7* 


220 


THE  EVERLASTING  CIRCLE 


.V{>  IQ4. 


F.  W.B. 


i 


(  hiirfiilly. 

b  u  I      -»^ — V 


s 


H'^e  ^    'I 


^^ 


^      I 


^^^^ 


-v— ^ 


-T 1 r 


P 


All        in       a     wood    there       giew     a     fins.      tree,         The  fin-   ''st      tree     that 


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p     *    • 


t        ir        /        I.- 


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ev  -   er     you    did     sef,     And  the      green  grass  grew     a   -     round,  a-round,  a- round,  And  th' 


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b','^     p 


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*      f  •    i»- 


1/^     g 


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greengrass  grew  a  -  round. 


Z2Z 


a  -  round, 


round.  And  the 


/ 


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^""*-      Vtrsi  U.  &  SI/,  r-ftif/n^ 


J    J  I  J  J   ,:     ..J 


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W      al 


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greengrass  gr-w       a  -  round.       And      on  this  tree  th-r-'grew  a   fine  bough, The    finest  hc';ghthat 


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<i  volonic. 


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M 


K V 


K         K 


5^ 


*i # 4 *-= — # 


=5= 


J        J 


ev  -  er    ycu   aii  see,    The  bough      on    the    tre*-,  anH     the        tree        in     th^    wood,   &c,.^c 


^ 


e,& 


Cf)/?(«   VOf-C. 


rOi 


i-    O 


'CT~ 


p  t  A.iena 


221 


r.iM.        'X  fo  Pirns 


gr'-en    leaves  flourished   th>*re     -     on,th''r'!-on,th>'re-on,  And  the   greTi leaves floijashedthef^on. 


^'9  104.  THE  EVERLASTING  CIRCLE 


All  in  a  wood  th-r-  ^:-'-^  a  tin-  tr--, 
The  finest  tree  that  ev-r  you  did  see, 

^nd  th-  green  grass  grew  around,  around,  around. 

And  the  green  grass  grew  around. 

2 

And  on  this  tree  there  grew  a  fine  bough 

The  finest  bough  that  ever  you  did  see, 

And  the  bough  on  the  tree,  and  the  tree  in  the  wood. 
And  the  green  leaves  flourished  thereon, thereon.thereon. 
And  the  green  leaves  flourished  thereon. 

3 

And  on  this  bough  there  grew  a  fia>'  *wig 
The  finest  twig  that  ever  you  did  see. 

And  the  twig  on  the  bough,  and  the  bough  on  the  tree,  and  the 
tree  in  the  wood, 

And  the  green  leaves  flourished  thereon  cScC. 

4 

And   on  this  twig  th-re  stood  a  fin-  nest. 
The  finest  nest  that  ever  you  did  s-e, 

And  the  n-'st  on  the  twig,  and  the  twig  on  the  bough&c. 

5 
And  in  this  nest   th-re   sat  a  fine  bird. 

The  finest  bird,  &c  . 

6 
And  on  this  bird  there  grew  a  fine  feather 
The  finest  feather,  &c. 

7 

And  of  this  f-ather  was  mai-"  a  fin-  h- i 
The  fin«"st  bed  ,&c. 

8 

And  on  this  bed  was  laid  a  fine  mother, 
The  finest   mother  &c. 


ft  #. 


In  th-^   arms  of  this  mother  was  laid  a  fine  babe 
Th-  rinest  babe,  ScC. 

10 

And  th-  babe  he  gr-w  up    and  becam-  a  fine  boy 
The  fin-st  boy,  ^f^- 

11 
And  boy  put  an   acorn   all  into  the    -arth 
The  fin-st  acorn  .t'^. 

12 

And  out  of  this   acorn  there   grew  a  tine  tree 
The  finest  tree  &c. 


222 


Within  a  garden 


^'.>  105 


H  .F.  S. 


Plrt?nt»iie/_y.     J  :  HB. 


With-  in      a         gar-   jen     a      mdi  -  d-^n  linc^ev'^i,        \Mifn  soft     th't  shales  of 


i 


r<(M. 


ffinpo 


K  K 


^ 


E 


f 


■         m 


#^ 


ev-Tilng    f'-ll;  F,x  -    p^ct  -  ing,  fr;ar   -     ing, 


foot    -    st"p         h-'dr    -     ing;       Rx 


-^^ — ^ 


tJ 


=n; 


I  ntlh 


I  Tttit.  I 


ft  inpo 


^••b^  n'  r 


1  ^  *i  j=^ 


J    1 


i 


S''  ^  i-  •^-;- 


?'3=^-^=? 


p^ 


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pect-ing,     f-^ar  -  ing,      A  foot   -    stt-p      h-ar    -     i-^.g,    f-ler  lov--    ap  -  prj'   -    irg,      t 


=F 


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g  » 


1    I.     L 


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P    i  «.  1617? 


2Z3 


^^ 


i 


^^ 


Se 


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ir<i[?. 


^ 


^=^ 


i 


^yWD.  WITHIN  A  GARDEN. 
1 

Within   d  gard-fn   a  niaii-n  ling-^r';'-), 
V\  h'-n  soft  th--  shad'-s  of  f-vrining  ff;ll 
Exp-cting,  t-armg, 
A  footst'-p   hearing, 
H-T  lovr;  app-^aring, 

To  say  far<-«>'Il. 

2 

With  sighs  and  sorrow  th-ir  vows  they  phghted 
One  more  -mbrace,  on-  last  aiieta; 
Tho'  St-d>  di'ile,  love, 
in  this  confide,  love, 
Whate'er  betide,  love 

To  the-   I'm  true. 

3 

Long  years  are  ovr,   and  still  th-  maiden 
Seeks  oft  at  evr  the  trystrng  tr--  ; 
H-r  promise  keeping. 
And,  faithful,  weeping 
H-r  lost  love  sleeping 

Across  the  s-a. 


""    t   *.  I«I7? 


224 


THE   HUNTING  OF  THE  HARE. 


A  COUNTRY   DANCE. 


m>  106. 


F.  W.B, 


ChterfuUif. 


^m     a — mz 


P 


# — ^ 


0        p 


■      • 


^^ 


*     i.     U     U      U= 


J.'^ !.« k-- 


L^      t^ 


^ 


h'jnff^i     my     M'-nv     all  in-  to     thf  hdv,    Tli-'      har"  wa";    b'--for>^   and  th*^ 


i 


^ 


^s 


P 


* 


V       ^ 


^^ 


^ 


> Ce. 


>■ y^ 

tick  -  1-^  -  soTn"  TVout, 


hounris"war-'       a  -   way!"    With     my         Hick  - -^r  -    ly   Tout, 


s^ 


^t 


^^ 


^ 


f 


t=MZ 


f=^ 


^^ 


■m        * 


^ 


p       f 


f^=^^ 


f)er  -   ly,   Tip  -  per  -   ly 


Hip 


■-v  -  Hr-fhfen  nip  -  pT  -  ly.  Up  th-    mH     -    die 


^ 


m 


^ 


^«5? 


'^ 


P 


P 


=P±: 


tail 


^ 


■# — ■ — - — •- 


-  rii   -go-  ran,     Twas         up        ♦h*'     hill,    down    th'-    form,     Here        a   st''p,ther-     a     turn. 


\4=^- — t^ 


T. 


T 


^ 


n  *.i6nH 


225 


i 


a    lull, nil-. 


^      V- 


Turn    an!    sf?    m-r  -   ri   -    ly       Hunt   liouni?,    a-wav'. 


i 


\mk 


i 


^ 


5^ 


^ 


J        ». 


^P 


fcfct 


f^ 


^^ 


li 


N?\C^.  THE  HUNTING  OF  THE  HARE. 
1 

I  hunted  my  Mtiv  al!  into  th''   hay, 

The   Hare  was  before   and  the  hounds  "  war*  away  I" 

Wi»h   my   Hickerly  Tout,  ticklesom"  Trout, 

Hipjjerly,  tif.pTly,  eversheen,  nipperly. 

Up  th>-  middle,  vdridigo-van 
Twa!r  !j;)  The  hill,  dnwn  th"  form, 
Her-?  a  ttep.ther-  a  ttjr-i, 

Turn  and  sing  meriily, 
Hunt  hounds,  away  • 

2 

I  hunt'-d   my  M-rry   all  into  the  barl-y, 
And  there  the  poor  puss  was  pursued  by  hound  Snarl-y. 
With   niy   Hick-rly  tout,  &c. 

3 

I   hunte  i  my    M>=iry  all  intoth'^  wh>-at, 
And  tr.H'-e  tn"  sly  puss  did  attempt  us  to  cheat. 
\\:'h  my  Hick-rly  tout,  &c. 

4 

1  huntt-  I  rr.v  M-rrv  all  into  the  rye, 
And  thr-re  tl,'-  poor  hare  was  constrained  to   \\- . 
With  my  Hickerly  tout,  &c. 

5 

I  hunt-  i  my  Merry  al:  r.tothe  oat> 

And  thtr»   I  cut  off  both  his  paw  and  his  si^u'". 
Wit;,  my  Hickerly  tout,  &c. 


P  t    *.  Ihll? 


226 


DEAD   lYlAID'S  LAND. 


m'  101. 


H.F.S. 


In  moAtrule  time. 


J  ^132. 


^ 


W^ 


d        * 


*-^ 


h'rtrTri 


Thr-r-^  stooH         a        gar-i'i^r  at       th-  gat-,     And 


"I'  1  JjJ-L^p 


^^ 


^ 


-'f^-^ 


<?-«- 


<(  mjKj 


^^ 


ascr^-^-r 


1    r  1^.  ^ 


F    t    W.  IKn9 


227 


.yp  107.   DEAD  MAID'S  LAND. 
1 

Th'T'T  stood  a  gdr1-?n-r  at  th'-ga'- 
And  in  -ach  hand  a  tlow^r; 
"O  pr--tty  mai  i,  corri'^  in,"  h-  said, 
And  vi-u  mv  b'-aut-^ous  how-r. 

2 

Th'-  lily  It  ihai!  h^  thy  smock  , 
Th-  jonquil  sho^^  thy  ♦'"-•t ; 

Thygown  shall  br-  th-^  t'^n-W'-rk  stock, 
To  mak'^th'-'!  tair  and  sw>^Ht. 

#3 

The  gilly-flower  shall  dr;ck  thy  li--ad, 
Thy  way  witli  h-^rbs  I'll  str";w, 

Thy  stockings  shall  b--  marigold, 
Thy  glovs  thr;  vi'l-it  blu'j." 

*.%£. 

-4 

I  will  not  hav^  th-?  gilly-floW'^r 
Nor  h-rbs  nsy  path  to  str'-w. 

Nor  stockings  of  the  marigold, 
Norglov-sof   vi'l'^t  blur. 

5 

1  will  not  have  the  ten-wrrk  stock. 
Nor  jonquils  to  my  shoon  ; 

But  I  wilt  have  the  red, red  rose, 
That  flow'reth  sw-rt  in  Jmh"." 

The  red,  red  rose  it   hath  a  thorn 
That  pi-TCethto  the  bon"." 

I  little  heed  thy  idle  rede; 
I  will  have  that  or  none." 

7 

"  Thr  r-d,red  los-  it  hath  a  thorn, 
Tiiat  pierc-th  tothe  heart  " 

"  T!i''  red,  red  rose,  O  I  will  hav--, 
1  little  h^rd  th^  smart." 

8 

Sli=  stooped  down  unto  th-'  grqun". 

To  pluck  the  rose  so  red  . 
The  thorn  it  pierced  h'-r  to  the  heart, 
■\a  i  this  fair  mai  i  was  d'-ad . 

9 

There  ^tood  a  gardener  at  th-  gat-*, 
UVh  cypress  in  his  hani. 

And  he  did  say, "let  no  fair  may. 
Come  i  ntc  Dea  i  Ma!  i's  Lan  i ." 


May  be  omitt-'d  in  singing. 

'   1    *.  1617? 


228 


SHOWER  AND  SUNSHINE. 


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wond'rous     brnath  pass-^d         o     -    v^^r    m^;        And  st^jepf^dall  my     soul      in     pain. 


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229 


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flowVs  in     bright -er      tints       ap-pf!ar 


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^i>lOS.  SHOWER  AND  SUNSHINE. 
1 

Th-T'-  Wf^nt  a  wind  ov^:r  the  sea, 
And  borne  on  its  wings  was  rain . 

A  wond'rous  breath  passed  over  me. 
An  i  ste-ped  all  my  soul  in  pain . 
I  wept,l>ijt  1  wpt  in  vain. 

2 

Along  w  ith  the  wind  went  a  sigh. 
And  shaduws  tell  deep  around  ; 

In  darkness  1  lay,  with  desolate  cry, 
Despairing  I  toss'd  on  the  ground; 
in  anguish  and  fear  profound. 

3 

The  sun  in  the  sky  shines  clear; 

And  glittTing  after  rain. 
The  flowers  in  brighter  titrts  <<]  pear, 
A  rainbow  o'er  aiches  th"  plain. 
I  W'-pt—hut  1  wept  not  in  vain. 

4 

Thou  love  art  the  mightiest  gale, 
To  shatter  to  wither  and  rive. 

Thou  makest  all  nature  grow  fresh  and  hale. 
Thou  dost  the  whole  world  revive. 
I  was  deadj  and  am  now  alive , 


f  *  W.iMT? 


2.^11 


HAYMAKING    SONG 


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CHORUS. 


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.r.^fa.9.    HAYMAKING  SONG. 
1 

Tht^  gold-in  sun  is  shining  bright , 

Th^!  d-^w  is  offthsfi^ld; 
To  us  it  IS  our  main  delight, 

Thr-  fork  and  rake  to  wield. 
The  pipe  and  tabor  both  shall  play, 

The  viols  loudly  ring, 
F'roni  morn  till  evi-  each  summer  day, 

As  wr-  go  hay-iiiaklng  . 
Chorus:   The  pipf!  and  tabor,  &c. 

2 

As  we  my  boys  haymaking  go, 

All  in  the  month  of  -June. 
Both  Tom  and  Bet,  and  Jess  and  .Joe 

Th-ir  happy  hearts  in  tune. 
0  up  come  lusty  Jack  and  Will, 

With  pitchfork  and  with  rake, 
And  ap  come  daintv   Doll  and  Jill, 

The  sweet,  sweet  hay  to  make. 
Churui:  Th-^  pip-  and  tabor,  &c. 
3 

0  when  th-'  liayiel  all  is  done, 
Then  in  the  arishgrais, 

The  lads  shall  have  tii'-ir  till  of  tun , 
Rach  dancing  with  his  lass. 

The  goo.i  old  farmi^r  and  his  wife, 
Shall  bring  the  best  of  cheT, 

1  would  it  were,  aye, odds  my  lifel 

Hay-making  all  th"  y^ar. 
Chorus:  The  pipe  and  tabor,  Sco. 


r  4  w.ifin? 


a32 


IN   BIBBERLEY  TOWN, 


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In         Eib-ber-ley     town       a  maH      did  dwell,       A  bux      -     oni      lass  as 


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I'v     he^r-l     t-11  ;         As         straight      as      a     wand,       just 


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fal         d-"     ral      '\-'-.;      What  ijj.s 


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world     ther-    he'. 


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^1^9  WO.  IN  BIBBERLEY  TOWN. 
1 

In  Bibb-rlry  town  a  maid  did  dw^ll, 

A  buxom  lais,  as  I've  hr^ard  t-^l! ; 

As  straight  as  a  wan-i,  just  twenty  two, 

And  many,  a  bachelor  had  h-r  in  virw. 

Ri  fa]  d^  ral    diddl-,  ri  fal  de  ral  de-, 
Uhat  ups  and  downs  in  thf  world  th-re  be  ? 

2 

This  maid  so  bf^autiful  fair  and  f ri^e  , 

Was  sought  by  a  squire  of  high  dr^grrje; 
W".  courted  hr-r  hon'-stly  for  his  wif-, 
But  sh'^  could'nt  v^ntur";  so  high  'r.  hf-!. 
Ri  fal  d-ral  &c. 

3 

A  tinlc^r  th-T--  cam--  to  m-n  i  th^-  kfttlp, 
Sh*-  f"-!!  in  lovH  wifhthf  man  of  iii>?tal  ; 
His  songs  and  his  jok-^s  won  her  hsart  and  Wx  hand, 
And  she  promised  with  liim  in  the  church  to  stand . 
Ri  fal  d--  ral  &c. 

4 

They  wed,  and  this  jovial  mender  of  pots 
Proved  only  a  brute  and  the  prince  of  sots  ; 
He  bfat  her,  he  Starved  her,  she  gave  him  the  slip. 
And  Hack  to  Bibberl^y  town  did  trip. 
Ri  fal  deral  &c. 


» 


rr 


She  found  that  the  Squire  her  formT  tlani- 
Had  woocd  and  married  a  wealthy  dame. 
But  a  vacant  place  in  the  house  sh^took, 
And, instead  of  his  wifV,  she  becam-  his  cook. 

Ri  fal  dp  ral  diddle,  ri  fal  de  ral  de*- ; 

VVhat  ups  and  downs  in  the  world  thHr"  be  ! 


p  s  *.i6n« 


ALPHABETICAL     INDEX. 


Name  of  Song. 

WOUDS. 

Name  of  Tune. 

No.  OF 

Song. 

Adam  and  Eve 

O.W. 

Traditional 

100 

All  in  a  Garden 

N.W. 

As  Polly  Walked  Out 

105 

A  Maiden  sat  a  Weeping 

O.W. 

Traditional 

39 

An  Evening  so  Clear    ... 

N.W. 

It                    ...            ... 

41 

A  Niittins;  we  will  Go   ... 

Altered 

n                            ...                ... 

83 

Arscott  of  Tetcott 

Altered 

11                            ...                ... 

2 

Asjohnny  Walked  Out 

O.W. 

»,                             ...                 ... 

II 

A  Sweet  Pretty  Maiden 

N.W. 

A  Maiden  sweet  in  May 

35-^ 

A  Ship  came  Sailing     ... 

O.W. 

Traditional 

85 

Barley  Raking,  The 

Altered 

f,                      •••            •*. 

85 

Barley  Straw,  The 

Altered 

)i                     *..            •,. 

93     ' 

Bell-ringing,  The 

O.W. 

»,                      ...             ... 

82 

Bibberley  Town 

N.W. 

no 

Blackbird  in  the  Bush  ... 

N.W. 

(•Three    Pretty  Maidens    a^ 
i      Milking  did  Go...               ) 

90  - 

Blow  Away,  ye  Morning  Breezes 

O.W. 

Traditional 

25 

Blue  Flame,  The 

N.W. 

Rosemary  Lane     ... 

67 

Blue  Muslin    ... 

O.W. 

Traditional 

22 

Bold  Dragoon,  The 

Altered 

,1                     «••            ... 

65- 

Bonny  Blue  Kerchief,  The 

O.W. 

fi                     ...             ... 

40 

Bonny  Bunch  of  Roses,  The     ... 

O.W. 

,,                      ...             ... 

27 

Brixham  Town 

O.W. 

9 

Broadbury  Gibbet 

N.W. 

A  2nd  to  "  My  Lady's  Coach" 

62     - 

Broken  Token,  The 

Altered 

Traditional 

44  "^ 

By  Chance  it  was 

O.W. 



I 

Childe  the  Hunter 

O.W. 

2nd  to  "  Cold  blows  theWind  " 

33 

Chimney  Sweep,  The  ... 

O.W. 

Traditional 

20 

Cicely  Sweet  ... 

O.W. 

II                     ...            ... 

35 

Cold  Blows  the  Wind  ... 

O.W. 

),                     ...            ... 

6 

Come,  my  Lads 

O.W. 

1,                     •.• 

76 

Constant  Johnny 

O.W. 

,t                    ■.•            ... 

80 

Cottage  Thatched  with  Straw   ... 

O.W. 

,)                     ...            ... 

34 

Country  F'armer's  Son... 

N.W. 

1,                     ...            ... 

69 

Cupid  the  Ploughboy  ... 

Altered 

If                     ...            ... 

75 

Deadmaid's  Land 

O.W. 

(  3rd  tune  to  "  Cold  blows  the  ■) 
I     Wind"               ...              i 

107 

Death  and  the  Lady     ... 

O.W. 

Traditional 

99 

Deep  in  Love  ... 

O.W. 

II                      ...            ... 

85 

Dilly  Song,  The 

O.W. 

11                      ...             ... 

73 

Down  by  a  River  Side  ... 

O.W. 

II                     •••            ... 

84 

Drowned  Lover 

O.W. 

II                      •••            ... 

32 

Drunken  Maidens 

O.W. 

II                      ...            ... 

94 

Duke's  Hunt,  The 

O.W. 

II                      ...            ... 

Si 

Everlasting  Circle 

O.W. 

n                          »••               ." 

104 

Fair  Girl,  mind  tliis      ... 

O.W. 

II                          ...               ... 

72 

Fair  Susan  Slumbered... 

N.W. 

In  Yonder  Grove  ... 

95- 

False  Lover,  The 

O.W. 

Traditional 

97 

Farewell  to  Kingsbridge 

O.W. 

II                      ...             ... 

55 

Farmer's  Son,  The 

N.W. 

69 

Fathom  the  Bowl 

O.W. 

It                     •■•            ... 

14 

ALPHABETICAL   INDEX. 


Name   of   Song. 


Flowers  and  Weeds      ... 

Gipsy  Countess 
Golden  Furze  in  Bloom 
Golden  Vanity,  The 
Green  Bed,  The 
Green  Broom  ... 
Green  Bushes,  The 
Green  Cockade,  The    ... 

Grey  Mare,  The 

Hal-an-Tow    ... 

Haymaking  Song 

Hearty  Good  Fellow,  The 
Henry  Martyn 

Hostess'  Daughter,  The 

Hunting  the  Hare 

I'll  build  myself  a  gallant  Ship  ... 
I  rode  my  httle  Horse  ... 

Jan's  Courtship 

Jolly  Gosshawk,  The    ... 

Last  of  the  Singers,  The 
Loyal  Lover  ... 

Lullaby 

May-day  Carol  ...  ... 

Mallard,  The  ... 
Midsummer  Carol 
Miller's  last  Will 

My  Garden  grew  plenty  of  Thyme 

My  Lady's  Coach 

Nancy 

On  a  May  Morning 
Ormond  the  Brave 
Orchestra,  The 
Oxen  Ploughing,  The  ... 

Painful  Plough,  The  ... 
Parson  Hogg  ... 
Ploughboy,  The 
Plymouth  Sound 
Poor  Old  Horse 
Punch  Ladle,  The 

Rambling  Sailor,  The  ... 
Rout  is  out,  The 
Roving  Jack    ... 

Sailor's  Farewell 
Saucy  Ploughboy,  The... 
Saucy  Sailor,  The 
Seasons,  The  ... 
Silly  old  Man,  The       ... 
Single  and  Married  Life 


Words. 


( pt.  old   ■^ 

(  pt.  new  i 

O.W. 

N.W. 

O.W. 

Altered 

O.W. 

O.W. 

Altered 

<  pt.  old   •( 

(.  pt.  new  3 

O.W. 
Cpt.  old    -^ 
(.  pt.  new  J 

O.W. 

O.W. 

N.W. 
O.W. 

Altered 
O.W. 

O.W. 
O.W. 

N.W. 
O.W. 

(pt.  old    ■( 
i  pt.  new  i 

O.W. 

N.W. 

O.W. 

O.W. 
(pt.  old    ■( 
[  pt.  new  ) 

O.W. 


O.W. 

N.W. 
O.W. 
N.W. 
O.W. 

O.W. 
0.\V. 
O.W. 
N.W. 
O.W. 
O.W. 

Altered 
O.W. 
O.W. 


Name  of   Tune. 


Traditional 


Gosport  Beach 
Traditional 


( To    London    Town    when  '^ 
^     first  I  came      ...  ) 

Traditional 


Little  Girl  down  the  Lane  . 
Lady  and  Apprentice 

Traditional 


Seventeen  on  Sunday 
Traditional 
Cruel  Miller 
Traditional 


O.W. 

N.W. 

Salisbury  Plain 

O.W. 

Traditional 

O.W. 

11 

O.W. 

O.W. 

11 

No.  OF 

SONO. 


50 
56 
64 
91 
10 

43 

37 

51 

24 
109 

26 

53 

70  - 
106 

103 

lOI 

31 

71 

28 
92 

4y 

47 
79 

t'9 
12 

7 
30 

48 

73- 

13 

63 

57 

61 
5 
59 
54' 
77 
14 

87 

45 
8 

38 

102 

21 

19 
18 
88 


ALPHABETICAL     INDEX. 


Name  of  Song. 

Words. 

Name  of  Tune. 

No.  OP 
Song. 

Something  Lacking 

O.W. 

Traditional 

58 

Spotted  Cow,  The 

Altered 

1,                        ...             ... 

74 

Squire  and  Fair  Maid,  The 

O.W. 

,, 

23 

Strawberry  Fair 

Altered 

68-^ 

Streams  of  Nantsian,  The 

C  slightly  -^ 
faltered  ) 

„ 

93 

Sunshine  and  Shadow... 

N.W. 

I  sowed  the  seeds  of  Love  ... 

95 

Sweet  Nightingale 

O.W. 

Traditional 

■5 

There  went  a  Wind     ... 

N.W. 

I  sowed  the  seeds  of  Love  ... 

95 

Tobacco  is  an  Indian  Weed 

O.W. 

Traditional 

95 

Trees  they  are  so  High,  The     ... 

O.W. 

,,                        ...             ... 

4 

Trinity  Sunday 

N.W. 

f'As     I    walked    out    one^ 
i     beautiful  morning "           ) 

66 

'Twas  on  a  Sunday  .Morning     ... 

N.W. 

(  Traditional   Alteration    (?) ") 
I     from  Mori         ...              j 

3 

Tythe  Pig,  The 

O.W. 

Traditional 

29 

Warson  Hunt,  The 

O.W. 

}i                        ...             ... 

42 

Why  should  we  be  Dullards  Sad 

O.W. 

46 

Widdecombe  Fair 

O.W. 

,1                       ...             ... 

16 

Wreck  off  Scilly,  The  ... 

O.W. 

,, 

52 

Wrestling  Match,  The... 

O.W. 

60 

Ye  Maidens  Pretty 

O.W. 

,1 

17 

Tunes  have  been  unaltered  except  where  mentioned  in  Introduction.    O.W.  for  Old  Words 
N.W.  for  New  Words. 


University  of  California 

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405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

Return  this  material  to  the  library 

from  which  it  v<as  borrowed. 


■^TX- 


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